More than just a camera lens database

LENS-DB.COM

Leica SUMMILUX-M 50mm F/1.4 ASPH. [II]

Standard prime lens • Digital era

SHARE • TWIT • EMAIL

Abbreviations

ASPH. The lens incorporates aspherical elements.
II Second generation.

Model history (10)

■Leitz Wetzlar XENON 50mm F/1.5 [LSM]M7 - 51mA51 1936 ●
■Leitz Wetzlar / Leitz Canada SUMMARIT 50mm F/1.5 [LSM]M7 - 51mE41 1949 ●
■Leitz Wetzlar / Leitz Canada SUMMARIT 50mm F/1.5M7 - 51mE41 1954 ●
■Leitz Wetzlar SUMMILUX 50mm F/1.4 [I]M7 - 51mE43 1959 ●
Leitz Wetzlar SUMMILUX 50mm F/1.4 (548 units) [LSM] 1960 ●
■Leitz Wetzlar SUMMILUX 50mm F/1.4 [II]M7 - 51mE43 1961 ●
■Leitz Wetzlar SUMMILUX 50mm F/1.4 [II]M7 - 51mE43 1968 ●
Leitz Wetzlar SUMMILUX 50mm F/1.4 “Oskar Barnack 100th Anniversary” (1000 units) 1979 ●
Leitz Wetzlar SUMMILUX 50mm F/1.4 “Leica 1913-1983” (200 units) 1983 ●
Leica SUMMILUX-M 50mm F/1.4 “150 Jahre Photographie, 75 Jahre Leica Photographie” (1250 units) 1989 ●
Leica SUMMILUX-M 50mm F/1.4 Gold “Sultan of Brunei” (350 units) 1992 ●
Leica SUMMILUX-M 50mm F/1.4 Platinum “Sultan of Brunei” (250 units) 1992 ●
Leica SUMMILUX-M 50mm F/1.4 “Traveller Edition” (500 units) 1994 ●
■Leica SUMMILUX-M 50mm F/1.4 [III]M7 - 50.7mE46 1995 ●
Leica SUMMILUX-M 50mm F/1.4 Platinum “Sultan of Brunei” (125 units) 1996 ●
Leica SUMMILUX-M 50mm F/1.4 “150 Jahre Optik” (30 units) 1999 ●
Leica SUMMILUX 50mm F/1.4 [LSM] 1999 ●
Leica SUMMILUX-M 50mm F/1.4 for M6 TTL Millennium (2075 units) 2000 ●
Leica SUMMILUX-M 50mm F/1.4 “Al-Thani” (16 units) 2001 ●
■Leica SUMMILUX-M 50mm F/1.4 [III] TitaniumM7 - 50.7mE46 1995 ●
■Leica SUMMILUX-M 50mm F/1.4 ASPH. [I]M8 - 50.7mE46 2004 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. Titanium “50 Jahre M-System” (550 units) 2004 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. Titanium “9/11 Memorial” (1 unit) 2005 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “LHSA Special Edition” (1500 units) 2005 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “60 Years PRC” (60 units) 2009 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “China’s 1911 Revolution” (101 units) 2011 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Edition Hermès” (300 units) 2012 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Edition 100” (101 units) 2014 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Correspondent” (125 units) 2015 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. Black 2015 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Leica Galerie Frankfurt” (50 units) 2016 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Meister Edition Berlin” (20 units) 2017 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Jim Marshall” (50 units) 2017 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “Terry O’Neill” (35 units) 2018 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. “SC Asset” (30 units) 2019 ●
Leica SUMMILUX-M 50mm F/1.4 ASPH. for M10-P “White” (350 units) 2019 ●
■Leica SUMMILUX-M 50mm F/1.4 ASPH. [II]M8 - 50.45mE46 2023 ●

Features highlight

•
Ultra fast
•
1
ASPH
•
IF
•
MF
•
Manual
•
11 blades
•
Compact
•
E46
filters
•
Built-in hood

Specification

■ Production details
Announced:April 2023
Production status:● In production
Order No.:11728 - black anodized
11729 - silver chrome
Original name:LEICA SUMMILUX-M 1:1.4/50 ASPH.
System:Leica M (1954)
■ Optical design
Focal length:50mm
Speed:F/1.4
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
1 ASPH
Internal focusing (IF)
■ Diaphragm mechanism
Diaphragm type:Manual
Aperture control:Aperture ring
Number of blades:11 (eleven)
■ 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/1.9 (in terms of depth of field)
Diagonal angle of view:36°
■ Focusing
Coupled to the rangefinder:Yes (from 0.7m)
Closest focusing distance:0.45m
Maximum magnification:1:6.4 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing tab
■ Physical characteristics
Weight:337g
Maximum diameter x Length:⌀58.6×59.3mm
■ Accessories
Filters:Screw-type 46mm
Lens hood:Built-in telescopic round
Lens caps:14231 (front)
14269 (rear)
■ Source of data
Manufacturer's technical data.

Manufacturer description #1

Teaneck, NJ, April 13th 2023. Since its origins in 1849, Leica Camera AG has revolutionized the world of photography more than once. One of these innovations was the introduction of the Leica M series in 1954, which has been making history through M cameras and lenses up to the present day. One of these legendary M lenses has now been refined and presents itself with the latest high-end technology while keeping its compact and lightweight design: the Leica Summilux-M 50 f/1.4 ASPH. – for even more flexibility and freedom when taking pictures.

With its standard focal length of 50 mm, the new Summilux-M is suited for almost every photographic situation. Like all M lenses, it is characterized by an unmistakably high image quality. The new Summilux-M exploits the full performance potential of new camera sensors and offers exceptionally high-contrast and detailed results even in difficult light conditions. Moreover, 11 instead of 9 aperture blades ensure a visibly rounder bokeh.

The closest focusing distance has also been extended, from 70 cm to 45 cm. This was only made possible by the double cam gear specially developed by Leica engineers. As a result, the rotation angle of the distance ring could be greatly expanded compared to the previous model so that focusing has become even more precise over the entire setting range. At the same time, neither the frame size nor the sensitivity of the focus has been changed, which makes the lens particularly comfortable to handle even when focusing within the extended close-up range. Up to 70 centimeters, focusing is done, as usual, via the rangefinder of the digital and analogue M cameras. For focusing within the extended close-up range between 70 and 45 centimeters, it is necessary to use Live View on the screen, the Visoflex or the Leica FOTOS app.

Additionally, the Summilux-M 50 f/1.4 ASPH. has now been refined technically and optically. Directly integrated in the lens, the new round lens hood can be accessed at any time with only a flick of the wrist. The new Summilux-M 50 f/1.4 ASPH. is available in the silver or black anodized version.

The focal length classic is suited for all current and for all future M cameras. In combination with the Leica M-Adapter L, this new lens also enables photographing and filming with the Leica SL2 and the SL2-S. This is system compatibility “Made by Leica”.

Manufacturer description #2

Extraordinarily versatile

For over 150 years, we’ve been developing outstandingly precise optical tools, which we constantly refine to stay ahead of the curve. Each is a masterpiece equipped with state-of-the-art technology. One of these masterpieces is our extremely versatile standard lens Summilux-M 50 f/1.4 ASPH., which we created to give photographers more freedom – for images of outstanding quality with maximum creative flexibility. Its high-end technology exploits the full performance potential of new camera sensors, offering exceptionally high-contrast and incredibly detailed images. In almost any photographic situation. In virtually any ambient light.

Focus on the world, from 45cm to eternity

The Summilux-M 50 f/1.4 ASPH. makes detailed close-ups possible thanks to a double cam mechanism and a minimum focusing distance of 45 centimetres. Specially developed by our engineers, it greatly increases the rotation range of the distance ring compared to the previous model. This facilitates extremely easy and convenient focusing over the entire range, particularly in the extended close-up range. Distances as short as 70 centimetres are handled via the rangefinder. For the extended close-up range of 70 to 45 centimetres, you can focus via Live View on the screen, Visoflex or the Leica FOTOS App.

Hassle-free photography

The Summilux-M 50 f/1.4 ASPH. is as compact as ever with unchanged dimensions and weighing in at just 337 grams. The pictures it produces are on a whole new level. Compared to the previous model, 11 instead of 9 aperture blades ensure an even rounder bokeh with the unmistakable Leica look. The modern, round design of the lens hood offers even more flexibility. It’s integrated directly in the lens and can be screwed on or off with a flick of the wrist.

From the editor

Since this lens is not optically a new development, but just an improved version of the SUMMILUX-M 50/1.4 ASPH. (2004) with a much shorter closest focusing distance, the optical design most likely also includes 2 AD and 3 HR elements that its predecessor has.

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
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.

14231

Replacement lens cap, black finish, for Leica E46 lenses.

14269

Replacement rear cover 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.

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".

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Internal focusing (IF)

Conventional lenses employ an all-group shifting system, in which all lens elements shift during focusing. The IF system, however, shifts only part of the optics during focusing. The advantages of the IF system are:

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/1.4 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.