The new Heliar classic 50mm F1.5 from Voigtländer, is an unashamed retro lens that makes a virtue of its aberrations. It’s measured by a different yardstick, say the company, and its images are all about classic style. The painterly effect is “more fluffy” than the results from modern lenses, they say.
Of the three leading M-Mount lens manufacturers, Leica, Zeiss and Voigtländer, the latter is now by far the most prolific and seems to have a lens for every occasion. The f/1.5 Heliar joins a band of “standard” 50mm lenses from the Japanese company, one for every occasion. Indeed, it is easy to lose track of just what is currently on the market, with several smaller manufacturers now jumping on the bandwagon.
It’s quite an accolade for a mount that first appeared nearly 70 years ago and is now featured only on (expensive) cameras made by Leica—both digital and film. Yet, as Jörg-Peter Rau demonstrated effectively in his recent series on discontinued non-Leica M-Mount cameras, the market is much larger than the current crop of Leica bodies. As Voigtländer points out, a range of adapters is available to enable M-Mount lenses to be mounted on other makes of camera.
So there is a wide choice of bodies on which to mount your Heliar, from older film cameras from several manufacturers through to the latest Leica film cameras costing over £4,000 and, of course, the M10 and its brethren for a few thousand more.
The Heliar Classic 50mm f/1.5 has a recommended retail price of £629, including tax.
Here’s what Voigtländer have to tell us about the new Heliar…
Heliar Classic 50mm F1.5 VM
“The Heliar classic 50mm F1.5 VM is finished to show classical depiction at the wide-open apertures by the aberrations that intentionally remained. The Heliar Classic is measured by a different yardstick. Heliar images are about classic style.
“This image effect is painterly or even “more fluffy” than images made by modern lenses. By leaving some factors of aberration, both coma and spherical, we create a different image flavour to contemporary images made in digital post-processing. Not every subject demands maximum sharpness and saturation, some require a more delicate touch. Our optical formula is like a hand reaching back in time.
“This look cannot be obtained with modern lenses that overcorrect for various aberrations. In addition to the superior bokeh, the remaining frame flare and single-coated finish provide an extremely unique palette at wide-open aperture settings.
“Physically, the lens is also remarkable. The full metal focus ring is processed with a diamond pattern with a dedicated cutting tool. The engraved crosshatch pattern gives both improved operability with a texture that doesn’t slip in either direction. It also adds to the physical beauty and tactile appeal of the lens. It can also be mounted on Sony E-mount, Fujifilm X- mount, and Nikon Z-mount digital cameras via our appropriate adapters. It comes with a simple screw-on metal hood and a hood cap.
Key Features
- Heliar-type optical design achieves the large aperture of F1.5
- Classical style characterized by residual aberration
- Full metal barrel with high rigidity and durability
- Manual focus for reliable focusing operation
- Bayonet VM Mount
- High-precision rangefinder interlocking mechanism
- Minimum object distance 0.5m
- Full-frame image circle
A cup of coffee works wonders in supporting Macfilos
Did you know that Macfilos is run by a dedicated team of volunteers? We rely on donations to help pay our running costs. And even the cost of a cup of coffee will do wonders for our energy levels.
I wonder if it’s like the Zeiss 50/1.5 Sonnar? Soft and glowy wide open, sharp as a tack and much more “modern” rendering at f/4 ? I think there’s a place for such lenses. People like different looks.
I think Voigtlander are mining an interesting niche but a profitable one. There is definitely a market for lenses that “huff soul” (to borrow a phrase). Most of this manufacture’s current crop are available as single coated for the “vintage look” and multi-coated for a more modern, controlled, one.
I appreciate the honesty of saying up front that this is not a lens for pixel peepers. I also appreciate their size — the 35mm Color-Skopar (MC) I use on the TL2 is a wonderful little lens purchased for very little outlay. I have yet to pop that one on the SL2-S but I’m using R glass on that right now (yes, IBIS with a 1970s 50mm R Summicron! Where it end?)
“..I appreciate the honesty of saying up front that this is not a lens for pixel peepers..”
I never understand, or understood, why lens makers would offer old ‘imperfect’ designs such as this, or that Zeiss 50mm ‘Classic’ which focuses accurately either at around a meter or two, or nearer to infinity ..but not both!
Mike loves (or maybe ‘loved’) his – which I sold him for ‘a nominal sum’ ..I don’t know if he still loves it! – but which I couldn’t stand, as it was sometimes in focus, but at other times (daftly!) not. Why would one want to use a lens which is sometimes in focus, but often isn’t?
Similarly, why use a NEW lens which flares (because it has poor, or no, coatings)? I can understand using OLD lenses, for nostalgia’s sake ..almost all my lenses are 2nd – or more – hand from eBay.. to try them, and to take photos like “..the olden days..” ..but buying NEW old-quality lenses, and at NEW prices ..? Its like buying a NEW car with a crash gearbox ..for me, anyway.
I take your point. The funny thing about buying old lenses is that you often see them sold for more than you can buy these new versions. I’m tired of looking at 50 year old lenses on a well known online auction site with ‘some hazing’ or ‘fungus present but does not effect picture’. My fav was a very bright Canon screw mount up for $800 in ‘near mint’ except for the complete lack of aperture blades! At that point I’m looking at the likes of Voigtlander’s classic range.
Voigtlander is sure delivering a lot of variety of affordable glass for the discerning photographer. I currently own the Voigtlander 50/3.5 and it has a gorgeous rendering, it is tiny, it is beautiful to look at. I sold my Leica 50/1.4 because I loved this lens more. I plan to buy the Voigtlander 21/1.4 as it is sensational as well.
Unfortunately Zeiss seems to have lost their way. I love the magical rendering of the Zeiss 35/1.4. I sold my Leica 35/1.4 for it and never looked back.
We are blessed with choice on m glass for our m and Lmount cameras. And they are small in comparison to AF lenses.
Hi Brian, I must investigate the tiny 50/3.5 now that you mention it. I liked the pictures I’ve seen on Steve huffs website but wasn’t sure of the smaller aperture.
i either shoot at f/1.4 or typically F/5.6 or 8. With much higher ISO abilities these days, there is no real need for f/2,8 as back in the film days. I use other glass for f/1.4 bokeh. This lens has an amazing rendering and sharpness and is tiny.
Ahahahahaha! ..Here we go again!
I’ve just bought this new car, but in “..’hommage’ to earlier, purist generations of automobiles, this latest model is fitted with leaf springs to the original 1911 specifications, and – in further tribute to the craftsmanship of yesteryear – we’ve used genuine steel tyres to deliver that genuine early 20th-century ‘in-touch-with-the-road’ experience”.
Not to mention this new camera, which “..pays homage to the earlier, more innocent days of digital photography, with the newest implementation of a 1.5 megapixel sensor”.
For an even more ‘authentic’ 1950s experience, I’m now selling M-mount genuine milk bottles, also available in E-mount, L-mount and Pentax-K fit, and – by special request, at only £100 extra – in Pentax/Pentacon screw mount fit.
These can also be ordered in pre-cracked, pre-worn, semi-translucent (steel-wool polished) semi opaque versions, at only an extra £200.
I like listening to my 78s. The ‘crackle’ and ‘sizzle’ is very re-assuring.
William
Yes, I like those old Eartha Kitt 78s, and Cyril Stapleton with his orchestra playing ‘Eleanora’.
But would you buy a new CD with old-style ‘crackle’ and ‘sizzle’ on it?
Yes, I have plenty like that, early blues and jazz, particularly 1920s Louis Armstrong. I listen to the music and not my hifi. It’s the same with cameras. You can admire the features, but it’s the character of the pictures that count.
Willuam
Yes, I have plenty like that, early blues and jazz, particularly 1920s Louis Armstrong. I listen to the music and not my hifi. It’s the same with cameras. You can admire the features, but it’s the character of the pictures that count.
William
This did cross my mind as well. I don’t think I will be in the queue for this one. I can make botch even using the finest lenses.
Ah-ha! Are you actually Alan Partridge?