More than just a camera lens database

LENS-DB.COM

Leica NOCTILUX-M 50mm F/0.95 ASPH.

Standard prime lens • Digital era

Sample photos

F/1
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/???
F/1.4

Abbreviations

ASPH. The lens incorporates aspherical elements.

Features highlight

•
Ultra fast
•
2
ASPH
•
5
AD
•
3
HR
•
F.E.
•
MF
•
Manual
•
9 blades
•
E60
filters
•
Built-in hood

Specification

■ Production details
Announced:September 2008
Production status:● In production
Order No.:11602 - black anodized
11667 - silver anodized
Original name:LEICA NOCTILUX-M 1:0.95/50 ASPH.
System:Leica M (1954)
■ Optical design
Focal length:50mm
Speed:F/0.95
Maximum format:35mm full frame
Mount and Flange focal distance:Leica M [27.8mm]
Diagonal angle of view:46.8°
Lens construction:8 elements in 5 groups
2 ASPH, 5 AD, 3 HR
Floating element system
■ On Leica M8/M8.2 APS-H [1.33x] cameras
35mm equivalent focal length:66.5mm (in terms of field of view)
35mm equivalent speed:F/1.3 (in terms of depth of field)
Diagonal angle of view:36°
■ Focusing
Coupled to the rangefinder:Yes
Closest focusing distance:1m
Maximum magnification:1:17 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing ring
■ Diaphragm mechanism
Diaphragm type:Manual
Aperture control:Aperture ring
Number of blades:9 (nine)
■ Physical characteristics
Weight:700g
Maximum diameter x Length:⌀73×75mm
■ Accessories
Filters:Screw-type 60mm
Lens hood:Built-in telescopic round
Lens caps:14052 (front)
14053 (front)
14269 (rear)
14379 (rear)
■ Source of data
Manufacturer's technical data.

Manufacturer description #1

The World’s Fastest Aspherical Lens (35 mm camera system)

The new LEICA NOCTILUX-M 50 MM F / 0.95 ASPH

Breaking the optical “sound barrier” of lens speed 1.1 has been the Holy Grail of lens design for many years. Notably, the Canon 0.95 “Dream lens” was a bold attempt; however this was prior to modern aspherical lens technology.

Following the renowned LEICA NOCTILUX-M 50 mm f / 1, Leica is to now launch the world’s first aspherical f / 0.95 prime lens the new LEICA NOCTILUX-M 50 mm f / 0.95 ASPH.

Comparing vignetting and distortion values in a head to head comparison, with both lenses at full aperture, the new lens will be a clear winner and is faster.

Not only this, but the new LEICA NOCTILUX-M 50 mm f / 0.95 ASPH also performs comparably with the LEICA SUMMILUX-M 50 mm f / 1.4 ASPH (regarded as the best standard lens ever produced) when stopped down.

At the new 0.95 full aperture, depth of field is so shallow as to allow the most esthetic portraits or detailed studies. Low light becomes even less of a barrier, with the LEICA NOCTILUX-M 50 mm f / 0.95 ASPH, surpassing the speed of the human eye even more so than its predecessor.

Hand assembled in Solms Germany, this lens is designed to retain its value and usability for decades.

Manufacturer description #2

The LEICA NOCTILUX-M 50mm f/0.95 ASPH offers a unique range of features. A noticeably (11%) higher speed has been achieved in a body with almost the same diameter and only very slightly longer than its predecessor, the Noctilux-M 50mm f/1. At the same time, its rendition quality significantly exceeds that of its predecessor, while retaining the typical, slightly soft reproduction of the previous lens. Even at full stop, the LEICA NOCTILUX-M 50mm ASPH f/0.95 demonstrates excellent reproduction quality, which only deteriorates slightly towards the edges - while the slightly smaller format of the Leica M8 models only capture less of these areas anyway. Stopping down brings a continuous significant improvement in performance, up to an exceptional level over the entire image field at 5.6. Even in the close-up range, this performance is largely retained thanks to a "floating element". The strikingly low degree of vignetting for such a high speed lens is a maximum - i.e. in the corners of the image - of just 3.2 stops at full aperture in 35mm format, or around 1.5 on the Leica M8 models. Stopping down to 2 visibly reduces this light falloff towards the edge of the image, with practically only the natural vignetting remaining. Distortion is slightly barrel-shaped and, at a maximum of just 1%, is hardly perceptible in practice. The construction is similar to a double Gauss type and uses a total of eight lenses to achieve this excellent performance. Of these, five are made of glass types with anomalous color dispersion (partial dispersion) to correct color defects, while three simultaneously have extremely high refractive power. Because of their large diameter, the two aspherical lens surfaces are produced by meticulous grinding and polishing. To maintain performance in the close-up range, the rearmost element of the optical system is a "floating element", i.e. it moves independently of the rest of the mechanism.

Summary: The LEICA NOCTILUX-M 50mm f/0.95 ASPH represents a unique high performance lens. It combines exceptionally high speed with an image performance that ranks alongside that of today's leading lenses and once again extends the composition options of Leica M photography.

Manufacturer description #3

The extremely shallow depth of field at open aperture produces portraits and detailed studies of unequalled aesthetic effect. The result is outstanding image quality, comparable to the Leica Summilux-M 50mm f/1.4 ASPH., which is considered the best standard lens ever produced. Even the light from one candle can be sufficient for handheld photography.

As the world's highest-speed aspherical lens, the Noctilux-M 50mm f/0.95 ASPH exceeds the perception of the human eye. State-of-the-art optics and mechanical technologies have created a noticeable increase in lens speed, and a floating element retains high image quality even in the close-up range. Vignetting and distortion are even better than former Noctilux generations.

Manufacturer description #4

September, 2014

The iconic LEICA NOCTILUX-M 50 mm f/0.95 ASPH. and LEICA SUMMILUX-M 35 mm f/1.4 ASPH. Leica M-Lenses are now available in silver

Leica Camera AG, Wetzlar, now offers two of the fastest Leica M-Lenses, the Leica Noctilux-M 50 mm f/0.95 ASPH. and the Leica Summilux-M 35 mm f/1.4 ASPH., in an alternative silver anodised finish. The technical specifications of both lenses are identical to those of their serially produced counterparts. Whether in classic black or elegant silver, the two lenses offer exceptional imaging performance and enormous versatility, particularly when shooting in available light.

As the world’s fastest aspherical lens, the Leica Noctilux-M 50 mm f/0.95 ASPH. represents a milestone in lens construction and possesses a unique performance spectrum. At its maximum aperture, its extremely shallow depth of field enables the creation of portraits and detail studies characterised by inimitable aesthetic qualities. When used for available-light photography, the lens actually exceeds the perceptive capabilities of the human eye and delivers outstanding imaging results. Due to the very natural reproduction of perspectives and proportions by its 50 mm focal length, it is also an ideal universal lens that allows true-to-life rendition of subjects under normal lighting conditions.

The Summilux-M 35 mm f/1.4 ASPH. combines a moderate wide-angle character with natural reproduction of proportions and is therefore also an extremely versatile lens. Regardless of whether it’s a matter of selective focus in the close-up range, high-contrast available-light applications or landscape shots with immense depth of field, the lens delivers persuasive arguments in any situation. Its focal length of 35 mm, the classic for reportage photography, makes it ideal as the first lens for newcomers to Leica M-Cameras, while its low weight and particularly compact size make it perfect as part of a lightweight M-System for travel photography.

As is the case for all Leica lenses, the Leica Noctilux-M 50 mm f/0.95 ASPH. and the Leica Summilux-M 35 mm f/1.4 ASPH. are designed and constructed by Leica optical specialists and combine the best of optical and mechanical expertise. As particularly reliable products with enduring value, they are made in Germany from only the finest materials and assembled in an elaborate process entirely by hand. The combination of cutting-edge technologies and painstaking manufacturing procedures guarantees consistently excellent quality.

Both lenses in silver anodised finish will be available from authorised Leica dealers from the end of October 2014.

From the editor

Screw-on filter 60mm with accessory screw-in 82mm filter holder 14485.

Typical application

Class:

Ultra-fast full-frame standard prime lens

Genres or subjects of photography (7):

Landscapes • Cityscapes • Buildings • Interiors • Portraits • Street • Travel photography

Recommended slowest shutter speed when shooting static subjects handheld:

1/50th of a second

Alternatives in the Leica M system

Sorted by focal length and speed, in ascending order

Lenses with similar focal length and speed

Sorted by manufacturer name

Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments
Share
Clickable
Table of contents
Clickable
Pros and cons
Technical data
Clickable

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.

Limitation of liability • Privacy policy • Contact • Donate

35mm full frame

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

MF

Sorry, no additional information is available.

14052

Replacement lens cap, black finish, for the NOCTILUX-M 50mm f/0.95 ASPH.

14053

Replacement lens cap, silver finish, for the NOCTILUX-M 50mm f/0.95 ASPH.

14269

Replacement rear cover for Leica M-mount lenses.

14379

Replacement rear cover, plastic, black finish, for Leica M-mount lenses.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

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

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),

where:

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

Mount

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.

Speed

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.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

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 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/0.95 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.

Weight

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.

Filters

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

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.