|■Leitz / Leitz Wetzlar SUMMAR 50mm F/2 [LSM]||M||6 - 4||1m||A36||1933 ●|
|■Leitz / Leitz Wetzlar SUMMAR 50mm F/2 [LSM] • Collapsible||M||6 - 4||1m||A36||1934 ●|
|■Leitz / Leitz Wetzlar SUMMITAR 50mm F/2 [LSM] • Collapsible||M||7 - 4||1m||E36.4||1939 ●|
|■Leitz Wetzlar SUMMICRON 50mm F/2 [I] [LSM] • Collapsible||M||7 - 6||1m||E39||1953 ●|
|■Leitz Wetzlar SUMMICRON 50mm F/2 [I] • Collapsible||M||7 - 6||1m||E39||1954 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (1 unit) • Collapsible||1956 ●|
|■Leitz Wetzlar SUMMICRON 50mm F/2 [II]||M||7 - 6||1m||E39||1956 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (sample) (1 unit)||1957 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (1 unit)||1957 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 Gold (1 unit)||1957 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 [II] [LSM]||1960 ●|
|■Leitz Wetzlar SUMMICRON 50mm F/2 [II] Dual Range||M||7 - 6||1m||E39||1956 ●|
|■Leitz Wetzlar SUMMICRON 50mm F/2 [III]||M||6 - 5||0.7m||E39||1969 ●|
|■Leitz / Leitz Canada SUMMICRON-M 50mm F/2 [IV]||M||6 - 4||0.7m||E39||1980 ●|
|Leitz / Leitz Canada SUMMICRON-M 50mm F/2 “Leica 1913-1983” (200 units)||1983 ●|
|Leica SUMMICRON-M 50mm F/2 “Year of the Rooster” (268 units)||1993 ●|
|Leica SUMMICRON-M 50mm F/2 “LHSA 25th Anniversary” (151 units)||1993 ●|
|Leica SUMMICRON-M 50mm F/2 “Colombo ’92” (201 units)||1993 ●|
|■Leica SUMMICRON-M 50mm F/2 [V]||M||6 - 4||0.7m||E39||1994 ●|
|Leica SUMMICRON-M 50mm F/2 “RPS Royal Centenary” (100 units)||1994 ●|
|Leica SUMMICRON-M 50mm F/2 “Leica HISTORICA 20th Anniversary” (150 units)||1995 ●|
|Leica SUMMICRON-M 50mm F/2 “Gold Dragon” (300 units)||1995 ●|
|Leica SUMMICRON-M 50mm F/2 Gold “King of Thailand” (700 units)||1996 ●|
|Leica SUMMICRON-M 50mm F/2 Gold “Sultan of Brunei” (125 units)||1996 ●|
|Leica SUMMICRON-M 50mm F/2 “150 Jahre Optik” (30 units)||1999 ●|
|Leica SUMMICRON 50mm F/2 [LSM]||1999 ●|
|Leica SUMMICRON-M 50mm F/2 “Kanto” (100 units)||2000 ●|
|Leica SUMMICRON-M 50mm F/2 Titanium (500 units)||2001 ●|
|Leica SUMMICRON-M 50mm F/2 “50 Jahre SUMMICRON” (1000 units)||2003 ●|
|Leica SUMMICRON-M 50mm F/2 “Classic” (500 units)||2004 ●|
|Leica SUMMICRON-M 50mm F/2 Safari (500 units)||2019 ●|
|■Leica APO-SUMMICRON-M 50mm F/2 ASPH.||M||8 - 5||0.7m||E39||2012 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPHERICAL for RED (1 unit)||2013 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. Titanium (333 units)||2016 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. Red (100 units)||2016 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. “LHSA 50th Anniversary” (500 units)||2017 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. Black (700 units)||2019 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. “Leica HISTORICA 45th Anniversary” (45 units)||2020 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. Titanium (250 units)||2022 ●|
|Leica APO-SUMMICRON-M 50mm F/2 ASPH. Gold “King of Thailand” (30 units)||2022 ●|
■ Production details
|Production status:||● Discontinued|
|Original name:||Leitz Summar f=5cm 1:2|
|Ernst Leitz Wetzlar Summar f=5cm 1:2|
|System:||Leica SM (1930)|
■ Optical design
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Leica screw mount [28.8mm]|
|Diagonal angle of view:||46.8°|
|Lens construction:||6 elements in 4 groups|
|Coupled to the rangefinder:||Yes|
|Closest focusing distance:||1m|
|Maximum magnification:||<No data>|
|Focusing modes:||Manual focus only|
|Manual focus control:||Focusing lever|
■ Diaphragm mechanism
|Aperture control:||Aperture ring|
|Number of blades:||<No data>|
■ Physical characteristics
|Maximum diameter x Length:||<No data>|
|FIKUS / 12530|
|Lens caps:||ORIFT / 35182 (front)|
|OROMT / 35182a (front)|
|FIRHU / 35252 / 66835 (rear)|
|FIRHY / 35252a (rear)|
■ Source of data
|Scarce manufacturer's technical data + own research.|
From "Why Leica?" booklet (PUB 1213 E-3-34-M) by E. Leitz, Inc., New York:
This recent addition to the LEICA lens series possesses a surprisingly flat field and needle-sharpness, even at its widest aperture, despite its great speed. Built upon entirely different optical designs, the SUMMAR is offered as a combination normal and speed lens of exceptional merit, possessing none of the disadvantages usually associated with "speed lenses". In collapsible mount.
Ultra-rapid Universal lens for unfavorable lighting conditions, artificial light and press photography; also eminently suitable for all general amateur photography; in collapsible mount, chromium plated. Codeword: Sumus.
The "Leitz-Summar" F/2,5 cm. is a first-class universal lens. Even at full aperture, this lens gives critical definition right to the very corners. The particularly good chromatic correction is especially important in conjunction with the use of modern panchromatic films. The construction of this lens is such that pictures taken with it have a definite plastic effect. The lens is therefore equally suitable for all kinds of artificial light and Press photography as for general amateur photography.
The "Leitz-Summar" is obtainable in collapsible or non-collapsible mount.
The "collapsible Leitz-Summar" has arrows at right angles to each other on the lens socket-tube, for use when pulling out and locking the lens. On the ring which encircles the lens socket-tube, there is a short line. This line must be flush with the arrow in the longitudinal direction of the socket-tube. The lens can then be drawn out completely, and the second arrow then appears horizontally on the socket-tube, indicating the direction on which to lock the lens. The lens is simply turned right round to the stop and is then securely locked. The aperture figures can be conveniently read from above. When locking the lens, hold only the first milled ring, without touching the milled ring behind, which serves for adjusting the aperture.
The aperture should be set only after the lens has been locked.
The SUMMAR 50/2 existed in rigid nickel-plated variant or collapsible variant with nickel or chrome finish. This page is for collapsible variant.
The front element is made from soft glass that could be easily scratched.
The number of aperture blades could be 6 or 10.
The lens was soft at full aperture and vignetting was apparent with colour film.
Fast full-frame standard prime lens
Genres or subjects of photography (5):
Landscapes • Cityscapes • Buildings • Interiors • Portraits
Recommended slowest shutter speed when shooting static subjects handheld:
1/50th of a second
Sorted by focal length and speed, in ascending order
|Leitz ELMAR 50mm F/3.5 [I] • Collapsible||M||4 - 3||1m||A36||1930 ●|
|Leitz ELMAR 50mm F/3.5 [II] • Collapsible||M||4 - 3||1m||A36||1951 ●|
|Leitz Wetzlar ELMAR 50mm F/3.5 [III] • Collapsible||M||4 - 3||1m||E39||1954 ●|
|Leitz Wetzlar ELMAR 50mm F/2.8 [I] • Collapsible||M||4 - 3||1m||E39||1957 ●|
|Leitz HEKTOR 50mm F/2.5 • Collapsible||M||6 - 3||1m||A36||1931 ●|
|Leitz / Leitz Wetzlar SUMMAR 50mm F/2||M||6 - 4||1m||A36||1933 ●|
|Leitz / Leitz Wetzlar SUMMITAR 50mm F/2 • Collapsible||M||7 - 4||1m||E36.4||1939 ●|
|Leitz Wetzlar SUMMICRON 50mm F/2 [I] • Collapsible||M||7 - 6||1m||E39||1953 ●|
|Leitz Wetzlar Compur-SUMMICRON 50mm F/2 (150 units)||M||? - ?||1m||1954 ●|
|Leitz Wetzlar XENON 50mm F/1.5||M||7 - 5||1m||A51||1936 ●|
|Leitz Wetzlar / Leitz Canada SUMMARIT 50mm F/1.5||M||7 - 5||1m||E41||1949 ●|
Sorted by manufacturer name
|Canon 50mm F/0.95||M||7 - 5||1m||⌀72||1961 ●|
|Canon 50mm F/1.2 [LSM]||M||7 - 5||1m||⌀55||1956 ●|
|Canon 50mm F/1.4 I [LSM]||M||6 - 4||1m||⌀48||1957 ●|
|Canon 50mm F/1.4 II [LSM]||M||6 - 4||1m||⌀48||1959 ●|
|Canon 50mm F/1.5 [LSM]||M||7 - 3||1m||S.VII||1952 ●|
|Canon SERENAR 50mm F/1.8 I [LSM]||M||6 - 4||1m||S.VI||1951 ●|
|Canon 50mm F/1.8 II [LSM]||M||6 - 4||1m||S.VI||1956 ●|
|Canon 50mm F/1.8 III [LSM]||M||6 - 4||1m||⌀40||1958 ●|
|Canon SERENAR 50mm F/1.9 [LSM] • Collapsible||M||6 - 4||1.0668m||S.VI||1949 ●|
|Canon 50mm F/2.2 [LSM]||M||5 - 4||1m||⌀40||1961 ●|
|Canon 50mm F/2.8 I [LSM]||M||4 - 3||1m||S.VI||1955 ●|
|Canon 50mm F/2.8 II [LSM]||M||4 - 3||1m||⌀40||1957 ●|
|Chiyoko SUPER ROKKOR 45mm F/2.8 [C] [LSM]||M||5 - 3||1m||1947 ●|
|Chiyoda Kogaku SUPER ROKKOR 50mm F/1.8 [LSM]||M||6 - 5||1m||⌀46||1958 ●|
|Chiyoko SUPER ROKKOR 50mm F/2.8 [C] [LSM]||M||5 - 3||1m||⌀40.5||1954 ●|
|Chiyoko SUPER ROKKOR 50mm F/2 [C] [LSM]||M||7 - 6||1m||⌀43||1955 ●|
|Chiyoko SUPER ROKKOR 50mm F/2 [LSM]||M||7 - 6||1m||⌀40.5||1955 ●|
|Cosina Voigtlander COLOR-SKOPAR 50mm F/2.5 [LSM]||M||7 - 6||0.75m||⌀39||2002 ●|
|Cosina Voigtlander HELIAR 50mm F/2 “Cosina 50th Anniversary, Bessa 10th Anniversary” (600 units) [LSM]||M||5 - 3||1m||⌀39||2009 ●|
|Cosina Voigtlander NOKTON 50mm F/1.5 Aspherical [LSM]||M||6 - 5||0.9m||⌀52||1999 ●|
|Fuji Photo Film FUJINON 50mm F/1.2||M||8 - 6||1m||1954 ●|
|Fuji Photo Film FUJINON L 50mm F/2 [LSM]||M||6 - 5||1m||⌀43||●|
|Fuji Photo Film FUJINON L 50mm F/2.8 [LSM]||M||5 - 4||1m||⌀40.5||●|
|Fuji Photo Film CRISTAR 50mm F/2 [LSM] • Collapsible||M||6 - 4||1m||1949 ●|
|Konica HEXANON 50mm F/2.4 (1000 units) [LSM] • Collapsible||M||6 - 4||0.8m||⌀40.5||1997 ●|
|Konishiroku HEXANON 50mm F/1.9 [LSM]||M||6 - 5||1.0668m||⌀40.5||1956 ●|
|Nikon NIKKOR-H·C 50mm F/2 [LSM] • Collapsible||M||6 - 3||0.9m||S.VI||●|
|Nikon NIKKOR-H[·C] 50mm F/2 [LSM]||M||6 - 3||0.45m||S.VI||●|
|Nikon NIKKOR-S·C 50mm F/1.5 [LSM]||M||7 - 5||0.45m||⌀40.5||●|
|Nikon NIKKOR-S[·C] 50mm F/1.4 [LSM]||M||7 - 3||0.45m||S.VII||●|
|Nikon NIKKOR-N[·C] 50mm F/1.1 [LSM]||M||9 - 6||1m||⌀62||●|
|P. Angenieux Paris 50mm F/1.8 Type S1||M||6 - 4||1942 ●|
|P. Angenieux Paris 50mm F/1.5 Type S21||M||6 - 4||●|
|P. Angenieux Paris 50mm F/1.8 Type S1 [LSM]||M||6 - 4||1m||●|
|Schneider-Kreuznach Xenon 50mm F/2 [LSM] • Collapsible||M||? - ?||1.2m||●|
|Schneider-Kreuznach Xenon 50mm F/1.5 [LSM]||M||7 - 5||1m||●|
|Teikoku Kogaku ZUNOW 50mm F/1.1 Type 1||M||9 - 5||1m||1953 ●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.1 Type 2||M||8 - 5||1m||⌀54.5||1955 ●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.9||M||? - ?||0.4m||⌀40.5||●|
|Teikoku Kogaku (Zunow Opt.) ZUNOW 50mm F/1.3||M||? - ?||0.9m||●|
|Voigtlander NOKTON 50mm F/1.5||M||7 - 5||1m||●|
|Yashica [SUPER-]YASHINON 50mm F/1.8 [LSM]||M||6 - 5||1.0668m||⌀43||1959 ●|
|Yashica YASHIKOR 50mm F/2.8 [II] [LSM]||M||5 - 4||0.9m||⌀40.5||1959 ●|
|Yashica YASHIKOR 50mm F/2.8 [I] [LSM]||M||4 - 3||1.0668m||⌀40.5||1959 ●|
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For SUMMAR 5cm, f2. Made by both Wetzlar and Leitz, New York. Engraved "Summar" and with Wetzlar or New York logo.
Extendable hood for lenses of focal length 3.5cm to 13.5cm. Outer black sleeve slid over the nickel or chrome graduated sleeve and was locked in position by a set screw. The black lower collar carried the usual clamping ring and screw. Early ones nickel inner sleeve, later ones chrome. Leitz, New York also made an all chrome version. Many variations in engravings: e.g. four focal lengths 13.5cm, 9cm, 5cm and 3.5cm with "Hektor" to the left and "Elmar" to the right of the scale; three focal lengths only with no 3.5cm and only "Elmar" to the left; 13.5, 9 and 5 with two positions for the 5, the lower one having "Hektor" to the left and "Summar" to the right.
Dust cap, for screwing on base of LEICA lens when not in use.
Dust cap, chromium plated, for screwing on base of LEICA lens when not in use.
Spare lens cap, for ELMAR 35mm f:3.5, ELMAR 50mm f:3.5, HEKTOR 50mm f:2.5, SUMMAR 50mm f:2, ELMAR 90mm f:4, ELMAR 135mm f:4.5, HEKTOR 135mm f:4.5.
Spare lens cap, same as ORIFT, chromium plated.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
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.
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 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 – 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.
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.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
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".
The diaphragm must be stopped down manually by rotating the detent aperture ring.
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.
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.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/2 on this lens, and cannot be adjusted.
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.).
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.
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.
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.
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.
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.