Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [I]

Wide-angle prime lens • Film era • Discontinued

Model history (9)

Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [I]M8 - 60.7mE39 1958 
Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [I] [LSM]M8 - 61mE39 1958 
Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [I] with OVUM8 - 60.65mE39 1958 
Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [II]M6 - 40.7mE39 1969 
Leitz Wetzlar / Leitz Canada SUMMICRON 35mm F/2 [III]M6 - 40.7mE39 1973 
Leitz / Leica SUMMICRON-M 35mm F/2 [IV]Pancake lensM7 - 50.7mE39 1980 
Leitz Canada SUMMICRON-M 35mm F/2 “Leica 1913-1983” (200 units)Pancake lens 1983 
Leica SUMMICRON-M 35mm F/2 “Royal-Photo Austria” (102 units)Pancake lens 1993 
Leica SUMMICRON-M 35mm F/2 “LHSA 25th Anniversary” (151 units)Pancake lens 1993 
Leica SUMMICRON-M 35mm F/2 ASPH. [I]M7 - 50.7mE39 1997 
Leica SUMMICRON-M 35mm F/2 ASPH. “150 Jahre Optik” (30 units) 1999 
Leica SUMMICRON 35mm F/2 ASPH. [LSM] 1999 
Leica SUMMICRON-M 35mm F/2 ASPH. for M6 TTL Millennium (2025 units) 2000 
Leica SUMMICRON-M 35mm F/2 ASPH. Titanium (500 units) 2001 
Leica SUMMICRON-M 35mm F/2 ASPH. “LHSA 35th Anniversary” (1000 units) 2003 
Leica SUMMICRON-M 35mm F/2 ASPH. “Edition Hermès” (500 units) 2003 
Leica SUMMICRON-M 35mm F/2 ASPH. for MP Anthracite (400 units) 2004 
Leica SUMMICRON-M 35mm F/2 ASPH. “60th Anniversary ROK” (60 units) 2005 
Leica SUMMICRON-M 35mm F/2 ASPH. for M9-P “Grey” (50 units) 2012 
Leica SUMMICRON-M 35mm F/2 ASPH. “Correspondent” (125 units) 2015 
Leica SUMMICRON-M 35mm F/2 ASPH. Black (500 units) 2015 
Leica SUMMICRON-M 35mm F/2 ASPH. “Brass Edition 35” (35 units) 2016 
Leica SUMMICRON-M 35mm F/2 ASPH. [II]M7 - 50.7mE39 2016 
Leica SUMMICRON-M 35mm F/2 ASPH. “Canada Edition” (25 units) 2017 
Leica SUMMICRON-M 35mm F/2 ASPH. “Stealth Edition” (125 units) 2018 
Leica SUMMICRON-M 35mm F/2 ASPH. for M10-P Bold Grey (60 units) 2018 
Leica SUMMICRON-M 35mm F/2 ASPH. “ASC 100 Edition” (300 units) 2019 
Leica SUMMICRON-M 35mm F/2 ASPH. “Your Mark” (80 units) 2019 
Leica SUMMICRON-M 35mm F/2 ASPH. “Signature” (50 units) 2019 
Leica APO-SUMMICRON-M 35mm F/2 ASPH.M10 - 50.3mE39 2021 

Features highlight

16 blades


Production details
Production status: Discontinued
Order No.:11307 - black
SAWOM / 11308 - silver
Original name:LEITZ WETZLAR SUMMICRON 1:2/35
System:Leica M (1954)
Optical design
Focal length:35mm
Maximum format:35mm full frame
Mount and Flange focal distance:Leica M [27.8mm]
Diagonal angle of view:63.4°
Lens construction:8 elements in 6 groups
On Leica M8/M8.2 APS-H [1.33x] cameras
35mm equivalent focal length:46.6mm (in terms of field of view)
35mm equivalent speed:F/2.7 (in terms of depth of field)
Diagonal angle of view:49.8°
Coupled to the rangefinder:Yes
Closest focusing distance:0.7m
Maximum magnification:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing tab
Diaphragm mechanism
Diaphragm type:Manual
Aperture control:Aperture ring
Number of blades:16 (sixteen)
Physical characteristics
Weight:<No data>
Maximum diameter x Length:<No data>
Filters:Screw-type 39mm
Slip-on 42mm
Lens hood:IROOA / 12571
Lens caps:14031 (front)
14032 (front)
14051 (rear)
Sources of data
1. Leica lenses booklet (PUB. 11-34d) (January 1963).
2. Interchangeable lenses are giving your LEICA new perspective booklet (PUB. 11-34) (April 1960).
3. Leica lenses booklet (PUB. 11-34b) (October 1961).

Manufacturer description #1

From the LEICA photography magazine (1958, No. 4):

The welcome appearance of the 35mm Summicron f/2 wide-angle lens completes the professional "team". This 35mm lens, the 50mm Dual-Range Summicron, and the 90mm Summicron, form an f/2 Summicron lens group. Now, with this group and either an M 3 or an M 2, the Leica user is set to cover almost any photo situation with more ease than was ever possible before. Since each lens has the same maximum aperture, there is no need to calculate new shutter speeds when switching focal lengths, as was often the case when wide-angle and long-focus lenses were slower than the 50mm lens.

special Leitz glass

Naturally, the formula of the new wide-angle Summicron takes full advantage of the new "rare earth" glasses. But for the first time in Leitz history, the factory's own glass research was applied in designing the new lens. As a result, one of the glass lens elements is of a special "Leitz" glass, developed (but not manufactured) by the factory itself. It took eight glass elements to solve the design problems of this high-speed, wide-angle lens that has edge-to-edge sharpness and resolution when wide open. This compares to six for the 90mm Summicron f/2 and seven for the 50mm. And the result is a lens whose performance "wide open" compares to that of its famous 50mm namesake - which professionals call the "sharpest f/2 in the business." Peak aperture for sharpness is about f/4 to f /5.6. The short focal length and high speed of the 35mm make it ideal for zone-focus shooting and work by existing light in close quarters. It goes without saying that the high speed will be welcomed by color workers.

improved mount

Equally newsworthy are some of the new features on the lens mount. The diaphragm scale is linear. That is, the aperture click-stops are equally spaced; there is no crowding toward the f/16 end of the dial. This makes it easy to set half-stops for critical color work. The infinity lock and focusing lever are redesigned completely. The lever is now large, with nonskid grooves that make it easy to handle between thumb and finger.

Initially, the new Summicron 35mm will be available in bayonet mount for the M 2 and M 3 (the latter with Optical Viewing Unit). In 1959, a screw-mounting version will be produced. Price, in M 2 mount is $174.00; in M 3 mount, $207.00, both including tax.

Manufacturer description #2

Equal in performance to the 50- and 90mm SUMMICRON lenses which became the yardsticks for optical excellence, this high-speed wideangle lens is noted for its extreme corner-to-corner sharpness and absence of vignetting, even at f/2. With its combination of speed plus wide angle of view, the 35mm SUMMICRON is and ideal choice for candid color work, as well as for frequently encountered situations in which the field of the normal 50mm lens is too constricting.

Manufacturer description #3

From the LEICA photography magazine (1963, No. 3):

A new lens hood for 35 and 50mm lenses neatly solves the problem of the "dark corner" in the viewfinder. This is the partial blocking of the lower right corner of the viewfinder area by the outward spread of the rim of conventional lens hoods.

The new hood, however, has an odd and unorthodox inward slope, because of the principle on which it is designed. The design is based on the fact that the viewfinder itself has a certain angle of view. The rim of the hood, therefore, is made parallel to this angle, and the supporting structure for the rim is slotted. With the hood in place, the eye sees only the thin edge of the hood through the viewfinder. This appears as an almost invisible line rather than a solid section of the rim as would be the case with a conventional hood.

The new hood (cat. No. 12,585) can be used with all 35 and 50mm Leica lenses with 42mm flange diameter. Its price is $7.80.

From the editor

According to the "Handbook of the LEICA system" (May 1987), the SUMMICRON-M 2/35 with serial numbers up to 2307450 has internal thread M39 x 0.5 and uses E39 filters.

Typical application


Fast full-frame wide-angle prime lens

Genres or subjects of photography (5):

Landscapes • Cityscapes • Buildings • Interiors • Full to mid-body portraits

Recommended slowest shutter speed when shooting static subjects handheld:

1/40th of a second

Alternatives in the Leica M system

Sorted by focal length and speed, in ascending order

Lenses with similar focal length

Sorted by manufacturer name

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35mm full frame

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


Sorry, no additional information is available.

IROOA / 12571 (1959)

For 50mm and 35mm lenses with E39 mount. Double trigger fastening. Wide chrome band. Earliest examples were engraved "Summaron 3.5cm Summicron 5cm" but no codeword; later ones were engraved with either four or six focal length/aperture combinations and the codeword. Latest ones had the catalogue number and six focal length/aperture combinations.

12585 (1963)

For all 35mm and 50mm lenses with 42mm external mount diameter. All black. Engraved with either five or six focal length/aperture combinations and the catalogue number.


Replacement lens cap, screw-in type. Fits lenses with 42mm flange diameter.


Replacement rear cover, plastic, for Leica M-mount lenses (except 21mm lens) and Visoflex.


Replacement lens cap, chrome plated, fitting the 50mm SUMMICRON and all Leica lenses with 42mm flange diameter.

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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 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/2 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.