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I have used Leica 50mm Summicron-M f/2.0 APO lens and Zeiss Sonnar 50mm f/1.5 lens on many of my travels and project. It can also serve as an instrument with which you can craft your version of your story. While having a Leica 50mm Summicron-M f/2.0 APO lens will not make you a better photographer it may help you to appreciate the beauty of the images that can be achieved with this lens. The point I am trying to make here is lenses, and the choice of medium and the lens whether it is a 35mm film, medium format digital or a large format plate or a wide angle or a telephoto lens are as important as the photographer who uses them. If it comes to comparing image quality from lenses, I suggest we look into Ansel Adams photographs shot on large format film. They are entirely different lenses and serve my needs on various projects. For example, I own two Leica Noctilux-M 50mm lenses one from Dr.Mandler’s era with a maximum aperture of f/1 and one that is the latest with f/0.95 designed by Peter Karbe. It will not be the lens of choice for everyone because each photographer has a preference for a particular focal length, speed even may choose to use a different version of the same lens. Leica 50mm Summicron-M f/2.0 APO lens is my choice of today’s technology because it represents my style of photography. Today, as photographers our tools are better than ever. Some photographers like Bill Cunnigham use the same lens and camera for decades without deviating from their set modus operandi. Most professionals shoot photographs using with what they have developed a relationship with, it is often the lens with the camera body being upgraded over the years. It is important to remember that Cartier-Bresson did not have the most “correct” of lenses to capture his legendary photographs nor did Steve McCurry who never honestly bother with the specifications of his lenses but more so in the way they rendered images.