Leica 0-Serie Replica with Anastigmat 50mm F/3.5

35mm MF film viewfinder camera • Collectible



Production details
Announced:September 2000
Production type:Small-batch production: 2000 (two thousand) units
Order No.:10500 - body with fixed ANASTIGMAT 50/3.5
System: Leica SM (1930)
Imaging plane
Maximum format:35mm full frame
Imaging plane:36 × 24mm film
Fixed lens
Original name:Leitz Anastigmat 1:3,5 F=50mm
Focal length:50mm
Diagonal angle of view:46.8°
Lens construction:4 elements - 3 groups
Diaphragm type:Manual
Closest focusing distance:1m
Manual focus control:Focusing lever
Speeds:1/20 - 1/500 + B
Exposure metering:None
Exposure modes:Manual
Rangefinder and Viewfinder
Parallax compensation:-
Physical characteristics

Manufacturer description

History. During a voyage to the past, we come upon an event that made history: Oskar Barnack was searching for a way to make cameras more compact and more versatile, so that he and other photographers would not have to carry along the usual bulky plate cameras. Pursuing his intention of a “small negative – large picture”, he experimented and eventually settled on the idea of doubling the motion picture format, the format that is still in worldwide use to this day. To use that format, he built the very first 35-mm camera from Leitz: the legendary “Ur-Leica” of 1913/14. In 1923/24, this evolved into a small series of probably 25 improved prototypes – the so-called “0-Series”, extremely rare today, and eagerly coveted by collectors.

Leitz (a short version of the company’s name at that time: the name “Leica” was created later from the words “Leitz” and “camera”) used these prototypes in an early version of market research. Unfortunately the results were discouraging: photographers were not impressed and they did not recognize the new possibilities. The decision to proceed with the production of the camera in spite of their reaction was rewarded by great success. The pioneering Leica innovations of those early years established standards in camera technology that enabled great photographers to make dramatic pictures that continue to influence our view of the world today.

A challenge for creative photographers. There are more than enough reasons for the LEICA 0-SERIES to be born again. Our intention was to enable imaginative photographers to explore, in their own personal way, entirely new creative challenges; because it is a very special experience to develop a new feeling for photography with this classic camera.

Lavish manufacture. “As original as possible, as modern as necessary” – the thought that became the guideline for the new edition of the LEICA 0-SERIES camera. When you handle this camera for the very first time and examine all its aspects, you will definitely be fascinated. First of all because of the authenticity of the camera, which is faithfully true to the original in terms of dimensions, shape, surfaces, engravings and materials. Second, because of its high optical and mechanical precision, just as it was in the original. Third, of course, because this camera accepts conventional 35-mm film cartridges. Thus it is not just a collector’s item, but a genuine tool as well, with which photography presents itself in an entirely new way.

Love of detail. After taking it out of its case, the camera fits the hand pleasantly and securely. Like the original, the camera body is covered with durable artificial leatherette. Experts will be pleased right away by the typical black lacquer finish of external brass components like the top plate, baseplate, knurled knobs, and lens mount. The first look through the viewfinder, which consists of a fold-down lens and a fold-down sight, reveals another pleasing detail (other than the subject): a cross hair etched on the plane side of the viewfinder lens.


TYPE: 35 mm viewfinder camera with a mechanically controlled focal plane shutter and a non-interchangeable lens.

FILM FORMAT: 24 mm x 36 mm.

DIMENSIONS: Height 65 mm (with the viewfinder folded down), Width 133 mm, Depth 39 mm (with the lens collapsed).

WEIGHT: 430 g (15.2 oz).

BODY: Extruded aluminum covered with artificial leather covering. Interior shell of deep-drawn brass.

LENS: Leitz Anastigmat 50 mm f/3.5. Non-interchangeable, 4 lens elements in 3 groups.

SHUTTER: Horizontal mechanically controlled rubberized cloth focal plane shutter. Exposure times: "B", 1/20, 1/50, 1/100, 1/200, 1/500 sec.

TRIPOD SOCKET: A 1/4 inch, DIN 4503.


Fascinating technology. True as it is to the original, the selection of exposure times is unconventional by today’s standards. In order to set an exposure time, the slit of the focal plane shutter is adjusted to a specific width. A slit width of 1 mm corresponds to approximately 1/1000 second. The camera is calibrated for exposure times of “B”, 1/20, 1/50, 1/100, 1/200 and 1/500 second. When the shutter is completely wound after an exposure, the film is advanced by one 24 mm x 36 mm frame – easy to follow by means of the exposure counter dial, which is engraved with black inlaid numbers at every 5th calibration line to indicate the number of exposures that have been made. The exposure time selection, film loading on to a take-up spool and film rewinding are all faithful to the original. Another peculiarity is the coupled film advance and shutter winding: because the focal plane shutter, unlike the shutters in later models of the Leica, does not cap itself during the winding step, the small leather lens cap has to be inserted into the front of the lens in order to protect the film from being fogged.

Powerful optics. The lens construction is also faithful to the original – a Leitz Anastigmat 50 mm f/3.5 in a collapsible mount with a bayonet lock for the extended position. Its optical performance is comparable to that of the later Elmar 50 mm f/3.5, in fact it sometimes surpasses it. The aperture markings (3.5, 4.5, 6.3, 9 and 12), the stepless aperture adjustment and the distance settings (INFINITY, 10, 5, 4, 3, 2, 1.5, 1.25 and 1 m) were all executed in accordance with vintage specifications. A concession to present-day standards is the modern coating of the lens.

Allow yourself to be seduced. Will it ever really be possible to travel back in time? Right now, with the LEICA 0-SERIES we can at least take an interesting trip back into the past of photography. A trip that begins when you open the handsome case and start gathering extraordinary new experiences with historical photographic experiments.

From the editor

The camera was announced at the Photokina 2000 in Cologne and went on sale from November 2000.

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Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/3.5 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.