50MM BAYONET MOUNT LENSES
It is important to note that Leica lenses had their focal lengths specified in millimeters from 1925 to 1928, in centimeters from 1928 to 1970, and again in millimeters from 1971 onwards360.
50mm f/1.5 Summarit
The bayonet version of 50mm f/1.5 Summarit (code-named SOOIA-M) was introduced in 1954 with serial numbers starting at 1210XXX223. This lens was specifically designed to attach to the Leica M3 camera223.
The production of lens elements for the bayonet version of 50mm f/1.5 Summarit was done by Ernst Leitz Canada31. Canadian-manufactured SOOIA-M lenses are relatively rare and can be found in the 1246XXX and 1415XXX (or 1418XXX) series223.
Mechanical enhancements to the Summarit were limited to a redesign of the aperture system in 1957, which first appeared in the 1500XXX batch223. This new design featured aperture stops engraved on the rotating aperture selection ring, which rotated around a fixed indicator on the stationary lens barrel223. The notched front accessory ring was eliminated with the introduction of this new aperture system, making it impossible to use the bayonet-style accessory filters; instead, they were replaced with chrome 41mm screw-in filters223.
The lens features a small red paint-filled dot machined into the rear at the 10 o’clock position for alignment223. By the time of serial number 1392XXX, this red dot had been replaced by a small red plastic ball cemented to the rear of the lens223.
The final batch of SOOIA-M lenses, numbered 1535XXX, included a screw mount lens that was equipped with a permanently affixed 50mm M lens adapter, designated as IRZOO223. These adapted screwmount lenses are the only truly uncommon version of the bayonet Summarit223.
Closing Remarks
Both screw mount and bayonet mount of 50mm f/1.5 Summarit were produced in significant quantities—75,000 units—and was priced comparably to the dual range variant of the version 2 of 50mm f/2 Summicron, contributing to its commercial success361. This popularity may explain the enthusiastic descriptions found in Leitz sales brochures361. Production of all Summarit lenses ceased after the introduction of the new 50mm f/1.4 Summilux in 1959223. Notably, the prototype 50mm f/1.4 Summilux lenses were marked as "50 / 1.4 Summarit."223.
50mm f/2 Summicron - Version 1 Collapsible
The 50mm f/2 Summicron in bayonet mount was first introduced as a collapsible lens with the Leica M3 in 1954314.
The Summicron 1:2/50mm lens in a collapsible mount was completed in 1949 and utilized a new type of lanthanum ('rare earth') glass provided by the British firm Chance Brothers Glass361. In 1952, a new design computation became necessary when Schott glass had to be incorporated361. This Summicron design was initially 'tested' in a disguise as a Summitar*361. Two small batches were produced, one ranging from 812242 to 812323 and another from 812341 to 812360, both series being from September 1950361.
The design was created by Gustav Kleineberg and Otto Zimmermann361. Several elements of the lens contained thorium oxide, which emits radioactive radiation361. To prevent this radiation from fogging the film emulsion, the last element of the lens was made of flint glass containing lead, which blocked the radiation from reaching the film361.
The Summicron was available in screw mount and bayonet mount from the beginning361. In 1957, the rigid version replaced the M-mount lens, but the collapsible version remained in production until 1960 with the screw mount mount361.
The original Leitz documentation praised this lens highly, stating, "With the Summicron, we have created a small-format (35-mm) lens of the highest possible performance, uniting the advances in glass research with the latest insights from the optical design department."361 A more measured assessment might be that, while the lens performs better than its predecessor at maximum aperture, it still exhibits low overall contrast despite good definition of finer details361. It offers excellent color correction and effectively captures subtle nuances361.
The bayonet mount version remained in the catalogue until 1957 while the screw mount version until 1960361. The code names were SOOIC for collapsible lens in screw mount and SOOIC-M for collapsible lens in bayonet mount361. The serial numbers ranged from 920000 through approximately 1481700 in both screw mount and bayonet mount lenses361. The minimum focusing distance was 100cm361. The lens weighs 220 grams and the filter size is E39361.
50mm f/2 Summicron - Version 2 Rigid and Dual Range
Three of the seven elements in the 50mm f/2 Summicron - Version 1 Collapsible are made from LaK9 glass217. To eliminate all "suspect" lens elements, another element was changed to LaK9, resulting in the new design known as the rigid Summicron, introduced in 1956217 (on the market since 1957361). This lens benefited from optical enhancements made possible by the wider throat of the M-body361. Additionally, the Leitz designers aimed to eliminate the inherent instability associated with the sliding tube of collapsible types, as the necessary mechanical clearance limited the precision of the mount361.
The optical prescription was also revised to improve overall contrast361. There are rumors that Walther Mandler personally influenced these changes361. The lens comprises four LaK9-type elements, representing a simplification compared to previous designs361. The distance between the first and second lens elements (the air lens) was increased from 0.28 mm to 1.52 mm, and the shape of the second element was altered as well361. Changes were also made to the air lens between the third and fourth elements361.
This 50mm f/2 Summicron - Version 2 was available in both the rigid and near-focus (also known as "dual range") versions, has undoubtedly cemented Leica's reputation for producing the best-made cameras in the world361.
Dual Range version
The dual range version has "goggles."194 This version has dual scale in feet/meters, no reproduction ratios and no index194. There was a slight different in scalloping between the two194.
The "goggles" were given a separate catalog number and codeword (catalog number 14002/code-named SDPOO) since they were removable and could be purchased as a separate replacement item194. The lens focused normally to 3'4" but with the RF unit attached could focus to 19"194. The function of the " goggles" was to free the focusing mount for additional forward travel and to optically correct the parallax in the close up range194. This seven element lens was discontinued over twenty years ago (earlier than 1975)194.
It is important to remember that before a bayonet can be attached to an M6, it must be set to infinity235. Once this is done, it can function within its normal range, focusing down to 1 meter (approximately 40 inches)235. However, with the M6 TTL, it is not possible to utilize the close-range feature that allows rangefinder focusing down to 0.46 meter (19 inches) when “goggles” are fitted235.
The bodies of the M6 TTL are 2mm higher than earlier M models, which means a peg on the rear of the dual-range goggles prevents them from being properly attached to the lens235. In some rare cases, there may also be a compatibility issue with "classic" M6 models235. This occurs because the top plates—excluding those with a titanium finish or certain special anniversary models—are made from a zinc alloy casting rather than the previous deep-drawn brass235. The cast top plate is slightly thicker at certain points, interfering with the peg's placement in the horizontal plane, leading to insufficient clearance235.
The dual range version was capable of focusing as close as 19 inches up to serial number 2233899; after that, 20 inches360. A complex interlocking mechanism prevents the use of the lens for near-focus operation unless the attachment or spectacle has been installed by the photographer360.
The lens head can be unscrewed for use in the UOORF adapter and other accessories43.
Code Names and Catalog Numbers
The code names and catalog numbers were as follows361:
- SOSTA - rigid variant, screw mount361
- SOOIC-MS /catalog number 11018 - early rigid variant, bayonet mount, distance scale in feet361
- SOSIC / 11518 - early rigid variant, bayonet mount, distance scale in meters361
- Catalog number 11618 - late rigid variant, bayonet mount, distance scale in feet361
- Catalog number 11818 - late rigid variant, bayonet mount, distance scale in meters361
- Catalog number 11117 - late rigid variant, bayonet mount, rare black paint version361. This is a rare variant, mostly found with matching black M2s, M3s, and (rarely) MPs of 1956360. Interestingly, the lower part of the focusing mount is not finished in black enamel but in anodized black360.
- SOOIC-MN - early dual range variant, bayonet mount361.
- SOMNI / catalog number 11918 - late dual range variant, bayonet mount361.
Closing Remarks
Its lens mount is both rock-solid and incredibly smooth. The finish, mechanical precision, and durability of this lens are unparalleled, contributing to its legendary status within the Leica community361.
The fame of this lens has made it a best-seller, with nearly 135,000 units produced361.
The lens production was ceased in 1968361.
50mm f/1.2 Noctilux
Introduced in 1966 at Photokina61, the 50mm f/1.2 Noctilux (catalog number 11820182) was the first commercially produced 35mm format lens with aspheric surfaces, two in each lens146. It features a six-glass design360. Although it is an extremely expensive lens, the 50mm f/1.2 Noctilux functioned more as a prestige product than a commercially viable one360. It was also the first attempt by Leitz to produce a 35mm format lens with a speed greater that f/1.4182.
Work on the development of aspherical elements began at Leica in 1957327. The first prototypes were created in April 1964327, designed by Helmut Marx and Paul Sindel185. Helmut Marx succeeded Professor Max Berek as head of photographic lens design in Wetzlar327. He utilized an Elliott 402F computer for ray tracing during the design process, which significantly saved time327.
The development of new lens coatings and a special formula for high refractive index glass led to the design of the 50mm f/1.2 Noctilux, which matched the performance of the renowned Summicron at equivalent apertures182. This lens achieved extremely high standards of contrast and resolution at its maximum aperture of f/1.2182. A particular focus was placed on reducing coma, and the six-element, four-group double Gauss optical formula included two internal aspheric elements182. The addition of these aspheric elements allowed the six-element design to minimize aberrations to nearly zero at maximum aperture182.
The lens features a robust mount made of brass and anodized aluminum, weighing a substantial 0.52 kg and measuring 52 mm in length, with a maximum diameter of 60 mm182. It utilizes Series 8 filters in the lens hood and has a near focus distance of one meter, with an angle of view of 45 degrees182. The diaphragm can be stopped down to f/16 in half-click increments182. The extremely shallow depth of field at maximum aperture challenges even Leitz’s exacting tolerances to maintain sharp focus at f/1.2182.
Producing the 50mm f/1.2 Noctilux was quite costly182. Leitz manufactured the special glass in small quantities at their facility in Wetzlar, and the rejection rate for these glass melts was notably high182. Additionally, the two aspheric elements required hand polishing through a proprietary process undertaken by highly trained technicians, resulting in a very slow production pace182. Consequently, the sales price of the 50mm f/1.2 Noctilux was three times that of the 50mm f/1.4 Summilux, leading to lower sales volumes182. This lens was primarily regarded as a prestige product, appealing to both specialists and discerning amateurs182.
Technical Specifications
The 50mm f/1.2 Noctilux features two aspherical elements (located at the front and rear), which were manufactured on a specially constructed grinding machine that required manual operation327. There was only one of these machines, and it could only be operated by one person, Gerd Bergmann327. Many elements produced during this process had to be discarded as defects327.
Notably, the 50mm f/1.2 Noctilux did not include a filter thread on the front element327; instead, this feature was part of the clip-on eversible lens hood (catalog number 12503)182.
Variants
Variant 1 - Bayonet mount with half-click stops; chrome finish360. Only one specimen is recorded (no. 0000660), and the name "Noctilux" is not engraved360.
Variant 2 - Bayonet mount that is significantly different from that of variant 1; no half-click stops; black finish360. Prototype no. 000,072,8 exists360.
Variant 3- Similar to variant 2, but with half-click stops360.
Serial Numbers
The serial numbers reserved for the 50mm f/1.2 Noctilux are185:
Production Figures
Leitz has not disclosed specific production figures182. Estimates of how many units were produced vary between 500 and 2,500, but it is understood that the actual number was 1757327.
Accessories
A limited range of accessories was available, including a special front cap (catalog number 14102), a rear cap (catalog number 14051), a custom reversible lens hood (catalog number 12503), and a fitted leather case (catalog number 98283)182.
Closing Remarks
An internal memo from Ernst Leitz, New York, dated October 1966, indicated that the 50mm f/1.2 Noctilux would first be available in November/December 1966 in very limited quantities, with subsequent deliveries planned for mid-1967329. The 50mm f/1.2 Noctilux catalog number appeared in the December 1966 consumer price list priced at 678 USD329. The Ernst Leitz, New York product catalog #40 from June 1967 included the 50mm f/1.2 Noctilux, and by July 1968, Leitz Wetzlar had prepared an informative pamphlet (110-79) detailing the characteristics of the 50mm f/1.2 Noctilux329.
It remained in the catalog for nine years, from 1966 to 1975182.
50mm f/2.8 Elmar (Version 1)
The 50mm f/2.8 Elmar (Version 1) lens was a redesigned version of the earlier Elmar 3.5/50 mm361. It incorporated new Lanthanum glass, which was also used in the Summicron lens361. Although the Leitz designers aimed to improve the lens with this new material, the overall progress was modest361. The moving tube for the collapsible mount made the lens mount somewhat unstable, prompting Leitz to create a rigid version that offered significantly better image quality361. This elusive Elmarit 1:2.8/50 mm never progressed beyond the prototype stage but had the potential to be an outstanding design361.
At maximum aperture, the lens performs reasonably well, although it doesn't deliver results that are particularly exciting361. However, performance improves significantly when stopped down, which is typical for many older-generation lenses361. The Elmar 2.8/50 mm is notable for its compact size and relatively low price. Pairing an Elmar with a III-series camera—or even better, an M2—results in an aesthetically pleasing combination that was popular among amateur photographers361.
In 1957, the price for the Elmar 2.8/50 mm in Germany was DM 198, while the Summicron was priced at DM 380 (and DM 480 for the Summicron NF), highlighting a substantial difference in cost at the time361. This lens was quite popular, with a considerable number of units sold361.
The lens was listed in the catalogue from 1957-1972 in bayonet mount361. The serial numbers ranged from 1402001 through 2503100 for screw mount and bayonet mount versions361. The minimum focusing distance was 100cm361. The lens weighs 220 grams and had filter size E39361. There were many small changes in engravings and design of the focusing collar361.
The bayonet mount 50mm f/2.8 Elmar with meter scale had catalog number 11612 and was code-named ELMOM361.
The bayonet mount 50mm f/2.8 Elmar with feet (and later international) scale had catalog number 11112 and was code-named ELMOM361.
5cm f/1.4 Summilux - Version 1
The 5cm f/1.4 Summilux lens, introduced in 1959, is an ultra-fast seven-element lens that replaced the 5cm f/1.5 Summarit360. In terms of optical design, it is a variation of the Summarit and incorporates Lanthanum glass, which reduces flare at large apertures compared to the Summarit360. This lens features a non-rotating mount and a click-stop iris mechanism360.
The transition from the Summarit to the Summilux lens was smooth361. The first series, produced in 1957 and designated by the numbers 1546001 to 1546150, was partially engraved with the name Summarit 1.4/50mm361. However, this name was soon changed to Summilux, marking the first time this name was used for a lens361. The reasons behind Leitz's decision to switch from Summarit to Summilux are unclear; it may have been an effort to emphasize the differences between the two lenses or to expand the renowned Summicron family with a high-speed member (since ‘lux’ is Greek for ‘light’)361.
The initial version of the 1.4/50mm lens retained the basic design layout of the Summarit but featured different radii and new glass types361. While the Summarit used glass with indices of 1.6433, 1.6127, and 1.5814, the Summilux incorporated glass with much higher indices: 1.7883, 1.7440, 1.6889, 1.6727, and 1.6425361. Designed by Leitz Wetzlar, this lens was an improvement over its predecessor, particularly in terms of higher contrast and better definition of fine details361. However, it did not achieve remarkable image quality and was withdrawn from the market shortly after its release, being replaced in 1961 by the significantly improved Summilux-M 1:1.4/50mm361. Still, the lens sold more than 17000 times within that brief period361.
The lens design closely follows the original Xenon/Summarit configuration but utilizes modern glass materials361. The seven-element double-Gauss design has become the foundation for most contemporary high-speed lenses and remains the primary choice for reflex systems today361.
Additionally, the optical cell is fitted into one of Leitz's most beautifully designed mounts, featuring a finely milled finish at the base where the depth of field scale is located, as well as a scalloped focusing ring361.
The code-names and catalog numbers for the first version of this lens were as follows:
- SOOME361 / 11114361 - chrome finish, from 1959, with bayonet mount360
- SOWGE82 / 11014361 - chrome finish, from 1962, with screw mount360
- Special order - bayonet mount, finished in black paint to match the black M2, M3, and MP of 1956 models; likely supplied exclusively with these models or available by special order360.
The lens remained in the catalog from 1959 till 1961361. The serial numbers ranged from 1640601 through 1844000361. The minimum focusing distance was 100cm and the filter size was E43361. The lens weighs 325 grams361.
5cm f/1.4 Summilux - Version 2
The 5cm f/1.4 Summilux (Version 2) was designed in Midland and utilized five different glass types with high refractive indices ranging from 1.7170 to 1.7883361. The second group of lenses was split into separate elements, while the last group was cemented together361. There were clear design philosophy differences between Midland and Wetzlar: Midland favored contrast, while Wetzlar focused on definition and color correction361. In the 1960s, promoting a camera system required a prestigious high-speed lens with specifications of 1:1.4/50361. However, achieving a high-quality lens that could compete with superb standard lenses with more moderate apertures of 1:2 from that era was challenging361. The increase in light entering the lens amplified the influence of aberrations by a factor of four to nine361.
The Leica Summilux has been featured in catalogs for more than forty years, with unit sales ranging between 50,000 and 60,000361. Its performance was optimized for use on rangefinder cameras, offering exceptionally high image quality in the center of the image plane, though it exhibited a significant amount of field curvature361. This design favored rangefinder users, who focused in the center of the image where the rangefinder patch is located, making the field curvature less noticeable due to the gradient of unsharpness361.
The lens was in catalog from 1962-2004361.
Catalog numbers and selected technical specifications:
- 11114 was a black anodized with chrome bayonet, before 1995361. Minimum focusing distance was 100cm361. Weight was 360 grams361. Had new optical cell but the same mount as 5cm f/1.4 Summilux - Version 1361.
- 11113 was a black paint version, before 1995361. Minimum focusing distance was 100cm361. Had new optical cell but the same mount as 5cm f/1.4 Summilux - Version 1361.
- 11868 was a black anodized, from 1995361. Minimum focusing distance was 70cm361. Weight was 275 grams361. New mount with finer knurled focusing rings361. Had built in lens hood361.
- 11856 was a silver chrome, from 1995361. Minimum focusing distance was 70cm361. Weight was 275 grams361. New mount with finer knurled focusing rings361. Had built in lens hood361.
- 11869 was a titanium361. Weight was 380 grams361.
Serial numbers range from 1844001 through 3983050361. There are 7 elements in 5 groups361.
50mm f/2 Summicron - Version 3
The version 3 of the 50mm f/2 Summicron lens, introduced in 1969, was a Midland design that followed the principles established in the Summicron-R, which is also a Midland design361. This 50mm f/2 Summicron (version 3) offers significantly improved performance compared to its predecessor361. It achieves medium to high contrast even at maximum aperture and provides excellent definition of fine details when stopped down to medium apertures361.
One reason for this improvement is the reduction to six elements, which includes an air lens that separates lens elements 4 and 5 by just 0.07 mm361. Although this very small thickness is not evident in the formal drawings of the lens, public diagrams often exaggerate the distance between these elements for illustrative purposes361. Another reason for the enhanced performance is the larger diameter of the last element, which allows designers to reduce certain aberrations361.
Overall, the 50mm f/2 Summicron (version 3) lens is an outstanding performer361. However, during that time, the rangefinder system was overshadowed by reflex cameras, resulting in relatively low sales of only 40,000 units361.
The lens was listed in the catalog until 1979361. The catalog number was 11817 for the black version361. The serial numbers ranged from 2269251 through 2887150361. There were 6 elements in 5 groups361. The minimum focusing distance was 70cm361. The lens weighs 260 grams and the filter size is E39361.
50mm f/2 ELCAN
This uncommon lens from the early 1970s, designed for the specially-prepared military M4 known as the KE-7A, appeared to be an optically interesting item but otherwise seemed relatively insignificant, with questionable performance that would only attract collectors330.
Dr. Walter Mandler, co-developer of the lens, said: “Around 1970, a competitive bid was requested for a 35 mm rangefinder camera made on the North American continent. The performance specifications did not require the image quality offered by the 5 cm f/2 Summicron. The way competitive bids for the military are evaluated, the surplus quality would not have counted in our favor. Therefore, it was prudent to design a less expensive lens. That this lens happened to be smaller was incidental. In image quality, I would place it between the 5 cm f/2 Summitar and the first Summicron (or Summitar*). The lens type that we have used is overstrained as far as field coverage goes. As you may have recognized, the new Colorplan 2.5/90† is the same type of optical construction. In this combination of aperture and focal length, the performance is flawless.”330
The author has come across various somewhat contradictory conjectures online regarding the purpose of the 50mm f/2 ELCAN lens for military use330. These discussions extend beyond just cost and the minor issue of barrel length, touching on aspects such as ruggedness (temperature and shock resistance due to the use of non-cemented elements), protection against infrared or other forms of radiation, and questions about optical resolution, particularly given the choices of specialized and reportedly costly glass types330.
Essentially, the 50mm f/2 ELCAN lens was a 'stripped-down' version of the standard 50mm f/2 Summicron, incorporating one fewer lens element (four instead of six), which led to a shorter focusing mount330. This reduction was primarily for cost reasons330. To my knowledge, there were no additional features such as winterizing, ruggedness, or IR capability incorporated into the lens by Dr. Walter Mandler330.
Unfortunately, for Leica enthusiasts, much of the documentary information following the transition of Leica lens manufacturing from Midland to Wetzlar/Solms was likely either transferred or purged330. During this time, Ernst Leitz Canada shifted its focus entirely to government contracts, entertainment, medical, and industrial markets330.
The Army manual that accompanied the KE-7A and the 50mm f/2 ELCAN contains no indication of sophisticated military applications, although it does provide extensive maintenance instructions330.
50mm f/1 Noctilux
Catalog number 11821 from 1976
50mm f/1 Noctilux (catalog number 11821) was first introduced in 1976361 remaining in production until 2008327. features a highly refractive optical glass developed by Leitz, which was first used in the original 50mm f/1.2 Noctilux of 196661. This unique glass, with a refractive index greater than 1.9, is exclusively produced by Ernst Leitz GmbH in Wetzlar61. According to designer Walter Mandler from Ernst Leitz, Canada, this glass is "indispensable for maintaining optimum contrast throughout the entire image area."61 50mm f/1 Noctilux was manufactured in Midland, Ontario61.
The 50mm f/1 Noctilux has a more complex design, utilizing seven glass elements arranged in six components, including a thin "air-lens" positioned between the second and third elements61. This advancement allowed the designers to eliminate the costly aspheric surfaces found in the original 50mm f/1.2 Noctilux of 196661. The modified Gauss construction retains the high contrast characteristic of its predecessor, particularly at apertures between f/1 and f/261. This makes the 50mm f/1 Noctilux particularly advantageous for use in low-light conditions with both color and black-and-white high-speed films61.
This lens, designed by Mandler, utilizes a new type of Leitz glass, referred to as 900403, which has a refractive index of 1.9361. This characteristic enables the designer to create lens surfaces with less curvature, thereby reducing spherical aberration, which is especially noticeable in ultra-high-speed lenses361. However, the all-spherical design introduces a significant amount of focus shift, which can diminish contrast at medium apertures361.
The Noctilux-M 1:1/50mm is noteworthy for being the first lens to provide usable image quality at such an extreme aperture361. It cannot be classified as a high-contrast, crisp-definition lens at maximum aperture361. Instead, the reproduction of subject outlines and fine details is subtle, with smooth gradation of color hues and gray values, giving it a more painterly than scientific impression361. A distinctive feature of the Noctilux is its ability to maintain shape in out-of-focus areas, offering a remarkable depth of vision361.
When stopped down to medium apertures, the Noctilux performs similarly to a standard lens with a moderate maximum aperture, although it does not match their level of precise correction361. Reports claiming that an aperture of 1:1 exceeds even the sensitivity of the human eye are not well-supported361. The maximum aperture of the human eye ranges between 1:2 and 1:3, with the pupil reaching a maximum diameter of approximately 8 mm361. The fastest aperture in the animal kingdom can be found in cats, whose eyes have a maximum aperture of 1:0.9361.
Using this lens at full aperture can be challenging due to its shallow depth of field—only 10 cm at a distance of 2 meters—requiring precise focusing, which is difficult in low-light conditions where the Noctilux is often employed361. The lens has achieved cult status among photographers, despite the fact that many other lenses offer objectively better performance361. Its unique characteristics at wider apertures contribute to its desirability, leading to unjustifiably high second-hand prices361. Over 17,000 units have been sold, demonstrating its continued popularity361.
This version of the Noctilux has been celebrated as evidence of significant progress in Leitz's optical department361. The use of spherical surfaces, rather than aspherical ones found in the previous version, was seen as a triumph in optical design; however, Leica's subsequent adoption of aspherical surfaces in nearly all lenses indicates that this notion may not be entirely accurate361.
The Noctilux's importance lies in its performance, which surpasses the novelty of extreme aperture lenses, allowing it to function as a general-purpose lens361. Its true value lies in its almost flare-free detail reproduction in poorly lit conditions, particularly its ability to penetrate shadows, rendering its severe vignetting less of a concern361. However, these advantages may be diminishing in the digital workflow, where post-processing software can enhance contrast and recover more detail361.
The lens features an angle of view of 45° and consists of 7 elements arranged in 6 components61. It has a filter size of E58 and an external mount diameter of A6161. The smallest aperture available is f/16, and it includes click-stops with half values, along with a combined feet/meter scale61. The focusing range extends from infinity down to 1 meter, and the focusing mount is nonrotating61. Weighing approximately 600g, the lens has a sleek black finish and a total mechanical length of around 62mm from the bayonet flange, while its maximum outer diameter measures 69mm61. Additionally, it can capture a smallest object field of 420 x 630mm (16.5" x 24.8")61. The lens did not include any aspherical elements327.
Catalog number 11822 from 1994
The 50mm f/1 Noctilux (11822) features a permanently integrated telescopic lens hood, unlike its predecessor, the 50mm f/1 Noctilux (11821)190. This design maximizes protection against stray light, reflections, and external influences, while minimally obstructing the Leica M camera's viewfinder image190. The retail price for this lens is 2895 USD190.
The 50mm f/1 Noctilux (11822) performs exceptionally well in both near and far focusing ranges, making it suitable for various normal light conditions, including landscape photography190. Leica Camera has developed a high-refractive glass specifically for this ultra-high-speed lens, which renders colors slightly "warmer" than other lenses in the Leica M range190. This effectively corrects the often-unwelcome bluish tint of distant backgrounds caused by haze190.
50mm f/2 Summicron-M - Version 4
The redesigned 50mm f/2 Summicron-M in Version 4 was introduced in 1979 by Mandler is based on his doctoral study, in which he analyzed the Double-Gauss design361. This new version features five flat surfaces, and the curvatures of the remaining surfaces are categorized into four classes, simplifying the manufacturing process361. The glass developed by the Leitz glass laboratory also facilitated the creation of the Noctilux lens without the need for aspherical surfaces361. This lens has been in production for nearly a quarter of a century, showcasing its high level of performance and establishing it as the benchmark for all subsequent designs361.
The five flat surfaces reduce the lens's ability to correct aberrations, but they also simplify the production and assembly361. Both the new and previous lenses have enhanced image quality, demonstrating exceptional design optimization that would have been challenging to achieve in the pre-computer era361. The improved performance stems from better correction of coma and field curvature361. At full aperture, the M-version maintains the same overall contrast as its predecessor, but the most noticeable advancement is the sharp and clear rendering of extremely fine details on-axis, which enhances the image's definition361. Even within specular highlights, tiny details remain visible, indicating that flare and veiling glare are effectively controlled361.
At an aperture of f/2.8, the contrast of fine details improves, as do the outer zones, and at f/4, we achieve outstanding image quality, with only the outer regions slightly lagging behind the center361. The Summicron (Version 3) at the same aperture displays a softer image across the field361.
At f/5.6, overall contrast is slightly reduced, but the definition of fine textural details in the field improves361. It’s important for users of these lenses to carefully consider their subjects and requirements: for the best overall contrast, the optimal aperture is f/4, while for the most precise definition of subtle textural shades of gray or color, f/5.6 may be more suitable361.
Scientific tests can quantify these differences, but whether the user can perceive or appreciate them varies361. Photographic technique often serves as the limiting factor361. Vignetting is comparable to that of the Summicron (Version 3)361. Close-up performance is significantly enhanced, and flare reduction is improved due to the lower amount of glass361. The lens produces exceptionally good drawing, and distortion is non-existent361.
The catalog numbers were as follows361:
- 11819 for the black version with focusing tab and without the built-in extensible lens hood361.
- 11825 for chrome version with focusing tab and without the built-in extensible lens hood361.
- 11826 for the black version from 1994 without focusing tab and with the built-in extensible lens hood361.
- 11816 for the chrome version from 1994 without focusing tab and with the built-in extensible lens hood, made until 2004361.
- 11624 for the titanium version without focusing tab361.
The serial number range starts from 2909101361. The minimum distance is 70cm361. There were 6 elements in 4 groups361.
The weight was as follows:
50mm f/2.8 Elmar (Version 2)
The second version of the collapsible 50mm f/2.8 Elmar was introduced in 1994 as a special lens to be sold in combination with the M6J body, but has evolved into a standard catalog item since 1996361. Production ended in 2007 with a special last edition361. The image quality of this completely redesigned lens is exceptionally good, with the position of the stop located between the second and third elements361. While one might assume that the 4-element design has been thoroughly explored, the Leica designers managed to extract even more performance from it, demonstrating that improvements are always possible361. This lens has undergone a complete mechanical and optical redesign from the original model created in the 1957186. Notably, it features a non-rotating focusing mount186. Additionally, the use of modern optical glass types has enabled an enhancement in imaging performance while maintaining the same number of elements as the original version186.
The exterior design closely resembles the previous version and retains its small aperture and distance rings, which are presumably necessary for achieving a compact size when collapsed361.
The performance of the lens is outstanding: the definition of fine detail is excellent, supported by high overall contrast361. At this level of performance, one must be a keen observer to detect subtle differences in image quality361. However, for more casual users, the lens combines a sense of nostalgia with high performance, making it a tempting option for many Leica enthusiasts361.
Total sales were relatively low, with approximately 17000 units sold361. It's important to note that in 1989, the Elmar-M 2.8/50 mm had a price tag of DM 1648 in Germany, which could also buy a Summicron-M 2/50 mm361. By 2005, the price difference had become more reasonable, with the Elmar-M priced at €800 and the Summicron-M at €1300361. The Elmar has been featured in several Leica M special editions, including the Leica M6 “Schmidt Platin,” Leica M6 “Cartier Bresson” (platinum), and Leica M6 Platin “150 Jahre Optik.”361
The black version of the lens had catalog number 11831 and the chrome version was listed under 11823361. The serial numbers ranged from 3668031 through 4047981361. The lens had 4 elements in 3 groups361. The minimum focusing distance was 70cm361. The black version weighs 170 grams while the chrome version weighs 245 grams361.
50mm f/1.4 Summilux-M ASPH
The lens was introduced in 2004, and it was highly anticipated as it incorporated numerous new optical technologies, significantly improving upon the previous legendary "speed king," the Summilux265. The goal of the optical designers at Leica was to create a reference lens that would push the boundaries of imaging performance and set a new benchmark for the standard 50mm focal length265.
The Summilux-M 1:1.4/50mm ASPH follows in the footsteps of its 1989 predecessor 35mm f/1.4 Summilux-M AA (Double Aspherical) and sets a new standard for very high-speed standard lenses361. When used at maximum aperture, overall contrast is high, and the definition of fine details is excellent361. The image plane is nearly flat, addressing a significant weakness of earlier designs, which had a pronounced curvature of field361. Additionally, the lens features new flare reduction methods that minimize halos around bright spots361.
Upon close inspection, one might notice a slight softness in fine details when shooting at maximum aperture361. However, when stopped down to f/2 or f/2.8, these residual aberrations are reduced to minimal levels, resulting in very clean and sharp images361. The floating element design enhances image quality in the near focus range, providing noticeable improvements in the outer zones and increasing contrast from 1 meter to 3 meters361.
The new Summilux-M 1:1.4/50mm ASPH is considered the best high-speed general-purpose lens in the Leica range361. It serves as a universal standard lens that can be used without restrictions on image quality at any aperture and across the entire image field361. The lens design is crafted by Peter Karbe361.
Handling is exceptionally smooth, and the lens size integrates well with the camera, fitting comfortably within the control range of the average user361. The molded finger grip allows for fast focusing with one finger, while the telescopic lens hood has a lock to prevent accidental movement361. The finish is of very high quality, and the aperture click stops perfectly match the overall craftsmanship of the lens361.
This lens boasts optical qualities that are second to none and represents a triumph in both optical and mechanical engineering361. Now a decade on the market, it remains competitive with newer alternatives361. The Summilux-M 1:1.4/50mm ASPH has been designed to play a crucial role in the imaging chain, whether in the context of a silver-halide workflow or the digital workflows associated with the M8/M9361.
An alternative approach would be to integrate the optical design with the characteristics of the sensor and software algorithms361. This approach has the advantage of distributing performance across several dedicated components, which could pose a challenge to the purely optical design methodology361.
The lens comprises eight elements arranged in five groups265. Elements 2 and 3 are made from glass with partial anomalous dispersion, with element 2 being a fluorite-type glass and element 3 crafted from material originating in the former Leitz glass laboratory265. Element 4 features an aspherical surface, while elements 1, 6, and 7 are composed of high refractive index glass265. This lens also introduces "floating elements" (elements 7 and 8), which move independently of the other optical components to enhance close-focusing performance265.
Initially, the lens will only be available in a black anodized finish, catalog number 11891265. It includes a built-in locking lens hood, and aside from the familiar knurled focusing ring, it is designed with a finger tab to facilitate one-handed focusing265. The focusing range extends from 0.7 meters to infinity, with an aperture range of f/1.4 to f/16 featuring half-stop settings265. The smallest object field is 11 x 16 inches, and the reproduction ratio is 1:11.3265. The filter size is E 46, mounted in a non-rotating fashion265.
The external dimensions of the lens are 52.5 mm in length and 53.5 mm in maximum width, with a weight of 335 grams265. It is expected to be available in July 2004 at a minimum advertised price of 2495.00 USD265.
Later, chrome version (catalog number 11892) was introduced361.
The serial numbers start from 3964511361.
50mm f/2.5 Summarit-M
The 50mm f/2.5 Summarit-M lens (catalog number 11644361), introduced in 2007285, combines the aesthetic and handling qualities of the renowned Summicron (I) 35mm lens, featuring a classical design with eight elements and specifications reminiscent of the Hektor 1:2.5/50mm361. While its maximum aperture is designated as f/2.5, it is actually closer to a true f/2.4361. The 50mm f/2.5 Summarit-M offers a new level of portability for standard lenses within the M-range361. This lens allows you to easily slip your camera, complete with lens, into your pocket, reminiscent of earlier times in photography361.
It serves as a suitable substitute for the collapsible Elmar-M 1:2.8/50mm361. With its compact dimensions and robust engineering, the lens is particularly well-suited for snapshot photography, especially when you want to capture spontaneous moments361. It adds minimal bulk to the M-camera body, which is often its most important feature361.
At maximum aperture, the 50mm f/2.5 Summarit-M already delivers high overall contrast and excellent definition across a significant portion of the image area361. When stopped down to medium apertures, the image quality improves even further, providing a greater depth of field that enhances casual picture-taking with high fidelity361. One notable design change in the newly introduced Leica-M lenses is the inclusion of all-black components in the rear segment361. This blackening helps reduce flare, and in the case of the Summarit, it is indeed effective361.
The lens has 6 elements in 4 groups361. The minimum focusing distance is 80cm and the filter size is E39361.
50mm f/0.95 Noctilux
50mm f/0.95 Noctilux (catalog number 11602361) in black anodized finish361 was introduced at Photokina 2008283. The silver chrome finish, catalog number 11667, was introduced in 2014361.
The difference in performance and ambition between the Noctilux-M 1:1/50mm lens designed by Mandler and the Noctilux-M 1:0.95/50mm ASPH created by Karbe is striking361. These two designs are separated by more than 30 years361. When Mandler developed his version of the Noctilux, he faced significant constraints due to Leitz's struggles during a merger with Wild Heerbrugg361. The photography sector was not receiving much attention, and the rangefinder camera needed a fresh perspective, especially as Leitz's reputation as a premier manufacturer of high-quality photographic equipment was declining361. Mandler had to rely solely on conventional tools and methods but could utilize a new glass with a very high refractive index that was specifically developed in the Leitz glass lab361.
By 2008, Leica had recovered from near-bankruptcy and, with substantial cash injections, was able to innovate vigorously361. Under the dynamic leadership of then-CEO Steven Lee and aided by modern high-tech (CNC) production technology and sophisticated logistics, the optical design department, led by Peter Karbe, created new types of glass to be produced by Schott361. They introduced floating elements with precise tolerances, manipulated anomalies in dispersion and other complex optical glass characteristics, and installed new equipment for shaping glass surfaces and centering lens elements with nanometer-level precision361.
The outcome? The introduction of the first super-fast standard lens that rivals the Summilux-M 1:1.4/50mm ASPH, the reigning champion of high-speed 50mm lenses361. Weighing 700 grams and measuring 75mm in length and 73mm in diameter, the new Noctilux reflects the restored confidence of the Leica Company, albeit with a heart-stopping price tag361.
Opting for an aperture of 1:0.95 is quite bold; the 11% increase in pupil diameter presents challenges for controlling aberrations361. However, contrast at maximum aperture remains high, delivering excellent detail definition361. Issues such as focus shift have been eliminated, and the presence of coma has been significantly reduced361. When stopped down, the new lens matches or even slightly surpasses the performance of the Summilux-M 1:1.4/50mm ASPH361. While some chromatic aberration is still present, it is nearly unavoidable in high-speed lenses. Light fall-off remains noticeable, though it is less critical with contemporary digital post-processing361. It is worth noting that the distance ring is quite thin-walled, and pressing too hard on the mount can cause perceptible stiffening361.
Overall, the new Noctilux is an exceptional performer, though its size and weight, coupled with its premium price, place it in a unique category361. The pricing dynamic has changed dramatically as well: in 2009, the Noctilux-M 1:0.95/50mm ASPH was priced at €7,995, while the Summilux-M 1:1.4/50mm ASPH was priced at €2,750, resulting in a staggering difference of 290%361. The elaborate manufacturing process of the aspherical elements and the selection of exclusive glass types contribute to this cost disparity361. Interestingly, Mandler’s design was initially inspired by a need for cost reduction as much as possible361.
50mm f/2 APO-Summicron-M ASPH
In 2012, Leica Camera AG in Solms introduced the APO-Summicron-M 50 mm f/2 ASPH lens296. The lens's MTF (Modulation Transfer Function) curves demonstrate its outstanding performance, showcasing the contrast of fine details and the resulting image sharpness296. The lens resolves even the finest details with over 50% contrast across the entire image field, an achievement that highlights its exceptional quality296.
As a result, images taken with the 50 mm f/2 APO-Summicron-M ASPH exhibit extreme sharpness and detailed resolution from corner to corner, regardless of the shooting situation296. Additionally, the apochromatic correction minimizes chromatic aberration on sharp edges, ensuring a natural representation of every detail296.
The design of the 50 mm f/2 APO-Summicron-M ASPH is based on the optical design of its predecessor, the version 4 of 50mm f/2 Summicron, which has been part of the Leica M portfolio since 1979, making it the oldest lens in the lineup296. This lens incorporates a floating element; the lens group behind the diaphragm adjusts its position relative to the front group during focusing296.
It was acknowledged that using very expensive types of glass and maintaining exceptionally precise engineering tolerances meant that this lens could never be cheap300.
The black finish of the 50 mm f/2 APO-Summicron-M ASPH became available from authorized Leica dealers at the end of July 2012296.
50mm f/2 APO-Summicron-M ASPH LHSA 50th Anniversary Edition
The 50mm f/2 APO-Summicron-M ASPH LHSA 50th Anniversary Edition lens was created to commemorate the 50th anniversary of the Leica Historical Society of America (LHSA)314 and introduced in 2018314.
The lens resembles "wide-knurled focus ring" version of 50mm f/2 Summicron Rigid from 1956 externally314. Optically, this lens is similar to 50mm f/2 APO-Summicron-M ASPH314. Unlike the 50mm f/2 APO-Summicron-M ASPH, this special edition model features a separate, detachable lens hood, also made of solid brass, along with a specially engraved Leica lens cap314. It is available in both Black Paint and Silver Chrome, crafted from brass314.
With the new LHSA Special Edition lens, you can enjoy the classic look and feel of the renowned "wide-knurled focus ring" version of 50mm f/2 Summicron Rigid from 1956, combined with the cutting-edge performance for which the 50mm f/2 APO-Summicron-M ASPH is known314.
50mm f/1.2 Noctilux Reissue
Reissue of 50mm f/1.2 Noctilux of 1966 was introduced in 2020327. This lens is the third reissue by Leica, following the reissues of the 28mm f/5.6 Summaron, and the 90mm f/2.2 Thambar327.
The 50mm f/1.2 Noctilux Reissue lens does have a filter thread ands that's the only obvious difference between the 50mm f/1.2 Noctilux Reissue and the original 50mm f/1.2 Noctilux of 1966327. Even the lens hood is superficially identical327. Although it says "LEICA CAMERA WETZLAR" and misses out the 'GERMANY' on the original 50mm f/1.2 Noctilux of 1966327. Otherwise, the size, handling and appearance of the 50mm f/1.2 Noctilux Reissue is just the same as the original 50mm f/1.2 Noctilux of 1966327. The lens focuses down to 1m327.
50mm f/1.2 Noctilux Reissue is coming in two versions: black with aluminum body for 7000 euros and silver chrome version with a brass body in a strictly limited edition of 100 copies for 15000 euros327.
50mm f/1.4 Summilux-M ASPH 'Close-Focus'
The lens was introduced in 2023 and features a new close-focus helicoid that allows it to be focused down to 0.45 meters345. This enhancement increases the maximum magnification from 1:11.3 to 1:6.4345.
It has 11 aperture blades, providing better control over depth of field345. There is a noticeable detent at the point where the lens focuses closer than 70 cm, after which you will need to use Live View on the LCD or the electronic viewfinder (EVF) for focusing345.
Leica has made modifications to the edges of the lens elements to improve definition from the center to the edges345. The lens is optimized for use with the M11 sensor, and as a result, it should showcase even more improvements when paired with the M11 and M11M models345.
It is available in silver chrome-plated or black anodized finishes345.