Leitz Wetzlar Summicron 50mm F/2 [II]

Standard prime lens • Film era • Discontinued

Abbreviations

II Second generation.

Model history

Leitz / Leitz Wetzlar Summar 50mm F/2 [SUMAR, SUMARKUP, SUMARCHROM] [LSM]M6 - 41.00mA36 1933 
Leitz / Leitz Wetzlar Summar 50mm F/2 [SUMUS, SUMUSKUP, SUMUSCHROM] [LSM]CollapsibleM6 - 41.00mA36 1934 
Leitz / Leitz Wetzlar Summitar 50mm F/2 [SOORE / 11015] [LSM]CollapsibleM7 - 41.00mE36.4 1939 
Leitz Wetzlar Summicron 50mm F/2 [I] [SOOIC / 11016] [LSM]CollapsibleM7 - 61.00mE39 1953 
Leitz Wetzlar Summicron 50mm F/2 [I] [SOOIC-M / 11116]CollapsibleM7 - 61.00mE39 1954 
Leitz Wetzlar Summicron 50mm F/2 for M3 Gold (1 unit)Collapsible 1956 
Leitz Wetzlar Summicron 50mm F/2 [II] [11117, 11118, SOMNI / 11818]M7 - 61.00mE39 1956 
Leitz Wetzlar Summicron 50mm F/2 for M3 Gold (1 unit) 1957 
Leitz Wetzlar Summicron 50mm F/2 [II] [SOSTA / 11018, 11518] [LSM] 1960 
Leitz Wetzlar Summicron 50mm F/2 [II] Dual Range [SOSIC / 11918, SOOIC-MN / 11318, 11320]M7 - 61.00mE39 1956 
Leitz Wetzlar Summicron 50mm F/2 [III] [11817]M6 - 50.70mE39 1969 
Leitz / Leitz Canada Summicron-M 50mm F/2 [IV] [11819, 11825]M6 - 40.70mE39 1980 
Leitz / Leitz Canada Summicron-M 50mm F/2 "Leica 1913-1983" (200 units) [11819] 1983 
Leica Summicron-M 50mm F/2 "Year of the Rooster" (268 units) [11825] 1993 
Leica Summicron-M 50mm F/2 "LHSA 25th Anniversary" (151 units) [11825] 1993 
Leica Summicron-M 50mm F/2 "Colombo ’92" (201 units) [11825] 1993 
Leica Summicron-M 50mm F/2 [V] [11826, 11816]M6 - 40.70mE39 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) [11836] 1995 
Leica Summicron-M 50mm F/2 "Gold Dragon" (300 units) [11834] 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) [10483] 1999 
Leica Summicron 50mm F/2 [11619] [LSM] 1999 
Leica Summicron-M 50mm F/2 "Kanto" (100 units) 2000 
Leica Summicron-M 50mm F/2 Titanium (500 units) [11624] 2001 
Leica Summicron-M 50mm F/2 "50 Jahre Summicron" (1000 units) [11615] 2003 
Leica Summicron-M 50mm F/2 "Classic" (500 units) 2004 
Leica Summicron-M 50mm F/2 Safari (500 units) [11824] 2019 
Leica APO-Summicron-M 50mm F/2 ASPH. [11141, 11142]M8 - 50.70mE39 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) [11696] 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) [11811] 2019 
Leica APO-Summicron-M 50mm F/2 ASPH. "Leica HISTORICA 45th Anniversary" (45 units) [11778] 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 

Specification

Fast
MF
Manual
10 blades
E39
filters

Optical design:
50mm
F/2
35mm full frame
Leica M
46.8°
7 elements in 6 groups
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/2.7 (in terms of depth of field)
Diagonal angle of view:
36°
Diaphragm mechanism:
Diaphragm type:
Manual
Aperture control:
Aperture ring
10 (ten)
Focusing:
Coupled to the rangefinder:
Yes
1m
<No data>
Focusing modes:
Manual focus only
Manual focus control:
Focusing ring
Physical characteristics:
<No data>
<No data>
Accessories:
Screw-type 39mm
ITDOO / 12570
IROOA / 12571
12585
SOOFM / 12516
14031 (front)
14032 (front)
14051 (rear)

Sources of data

  • Leica lenses booklet (PUB. 11-34d) (January 1963).
  • Interchangeable lenses are giving your LEICA new perspective booklet (PUB. 11-34) (April 1960).
  • Leica lenses booklet (PUB. 11-34b) (October 1961).
  • Leitz General Catalogue (October 1961).

Manufacturer description #1

From the LEICA photography magazine (Winter 1956, Vol. 9, No. 4):

Summicron in rigid mount

A rigid-mount version of the 50mm Summicron f/2 will soon be available for those who prefer it to the familiar lens in collapsible mount. It has the same focusing range (from infinity to 3 1/2 feet) as the collapsible-mount lens, and does not replace the other. The Focoslide-M, BOOWU-M, and SOOKY-M accept its removable lens unit.

Manufacturer description #2

From the LEICA photography magazine (1959, No. 2):

Summicron image quality is now available in 3 focal lengths

ALL WITH MAXIMUM APERTURE OF f/2

The remarkable characteristics of the 50mrn Summicron f/2 lens are now also available in 35mm and 90mm focal lengths. That such image quality could be retained in f/2 lenses - and in 3 focal lengths - is a tribute to progress and perseverance. The more you expect from a lens, the greater will be your appreciation of these new f/2 Summicrons. All three make full use of newly designed rare earth (lanthanum) elements. Over-all sharpness and resolution border on the fantastic. At full aperture, there is not a trace of vignetting, nor any sacrifice in image contrast. All three lenses deliver optimum resolution at least one full f stop faster than lenses of comparable focal length. The degree of correction is equally noteworthy. More important than specifications, is the use to which you can put these Summicrons. To stalk darkness? Of course! But more practically, to gain wider use of the high-resolution, fine-grain emulsions - to retain image quality in poor lighting conditions. And with color films, the added advantages of Summicron image quality with f/2 speed, opens limitless new opportunities. Whether you seek new versatility in a 50, 35, or 90mm lens - or all three - see your franchised Leica dealer.

50mm Summicron f/2

7 element Gauss-type formula, in rigid bayonet mount for the Leica M-3 and M-2 or in collapsible thread mount for previous models, $129; also in dual-range bayonet mount with focusing and parallax compensation from infinity to 19", $168.

90mm Summicron f/2

features lightweight mount for steadier hand-held shooting at slow speeds and built-in telescoping lens hood; 6 element Gauss-type formula, in bayonet or thread mount, $199.50; in short mount for reflex housing, $192 (basic lens can be adapted to short mount for dual-use).

35mm Summicron f/2

virtually eliminates wide-angle distortion. Features oversize front and rear elements to increase "full-aperture" performance, and unique finger-tip focus lever; 8 element Gauss-type formula; focuses down to 2'4". In bayonet (M-2) or thread mount, $174; for Leica M-3 (with RF Attachment), $207.

Manufacturer description #3

From the LEICA photography magazine (1959, No. 3):

THE MOST REMARKABLE OPTICS YET CRAFTED BY MAN

SUMMICRON f/2 LENSES

COMBINE HIGH SPEED WITH GAINS IN IMAGE QUALITY

You can now make sharper pictures, and in virtually every picture situation. Summicron f/2 lenses - in 35mm, 50mm and 90mm focal lengths - deliver gains in image quality at all apertures, at all camera-to-subject distances, and over every millimeter of the 35mm frame!

Summicron f/2 optical characteristics approach theoretical ideals. Their in-use advantages are very real, and readily apparent. Over-all performance surpasses not only the high-speed lenses, but of even more significance, the "slower" lenses long revered for superior image quality.

THE MORE YOU EXPECT FROM A LENS, THE GREATER WILL BE YOUR APPRECIATION OF THE SUMMICRON f/2's

1/2 setting commands confidence

There has always been a justifiable hesitancy to use any lens wide open, for maximum aperture is never optimum aperture. Yet a Summicron at f/2 delivers resolution, corner-to-corner sharpness and image contrast that command confidence. And with a Summicron, you enjoy this wide-open performance throughout the focusing range - from infinity to closest working distances.

optimum aperture clicks in at f/4

Exciting as the wide-open performance is, the advantages of Summicron image quality over other lenses are even more dramatic at smaller apertures. The Summicron, at f/4, reaches a level of resolution, image contrast and freedom from aberrations never before approached in camera optics. The Summicron hits a higher optimum - reaches it faster - and holds it longer. At any aperture smaller than f/4, all you gain is depth of field. And unlike other high-speed lenses, when the picture situation calls for f/11 or f/16, a Summicron continues to deliver with no shift in focus, no loss in picture quality.

superior image quality at all distances

All Summicron focal lengths deliver superior image quality from infinity down to closest camera-to-subject distances. This is due to the basic formula, the integrity with which it is manufactured, and to the matched mounts and "custom" rangefinder cams adapted to each assembled Summicron, to assure precise rangefinder focus - on every Leica camera ever manufactured.

soft-coated internal elements

All internal elements in Summicron lenses are soft coated for greater efficiency. A single uncoated surface of a single element reflects 4 to 7% of the light that hits it. Hard coating reduces that figure to 2% - a notable improvement. Soft coating further reduces internal reflections to 1.2%! Soft coating costs more, is more critical to apply - and more efficient. External front and rear elements are hard coated for maximum durability.

optics with mechanical advantages

No detail has been spared in Summicron lenses to help you make better pictures. You sense this from the moment you first work with a Summicron, the ease with which it handles on the camera, the smooth working focus drive, the linear diaphragm settings (equal spacing between all apertures) - even the raised dot index which lets you change lenses in complete darkness. You see the quality in the finish of the lens, in the finely etched numerals and depth-of-field scale, in the click-stops (half-stops on the 90mm). All three Summicron f/2 focal lengths employ parallel focusing mounts for added accuracy. In addition to increasing reliability and focusing ease (even in temperature extremes), parallel mounts are more convenient when setting or reading distance and aperture scales.

Summicron lenses in use

With a maximum aperture of f/2, you can naturally take more "existing light" photographs with high speed black-and-white and color films. Equally important, with f/2 aperture you gain wider use of the high-resolution, fine-grain emulsions - to retain image quality even in poor light conditions. You work with confidence in the knowledge that Summicron image quality is consistent - at all distances - at any aperture - over the entire 35mm frame. And with the Dual-Range 50mm Summicron, you can move in on any subject to a penetrating 19" and get Summicron-sharp close-ups (with range-finder focus and automatic parallax compensation). What's more, this provision is always with you and your Leica.

the Summicron Team

Summicron image quality has given rise to a new outfit being used by more and more Leica owners. They call it the Summicron Team: the 3 most often-used focal lengths, all with top optical performance and matched apertures from f/2 to f/16. With "the Team," you can interplay the 64° coverage of a wide angle, the 45° coverage of the 50mm and the selective 27° coverage of the long focus to any subject matter.

did you know these Summicron facts?

Leitz Summicron lenses employ the latest rare earth Lanthanum optical glasses with higher refractive indexes (greater light-bending power) lower dispersion (higher color fidelity) and high ultra-violet absorption • Summicron lenses are neither "warm" nor "cold" in their color rendition. They do not filter out any of the visible spectrum by intent or by accident • The 50mm and 90mm "lens heads" can be separated from their focusing mounts, for dual use on Leitz enlargers, copying and repro accessories • A share of the credit for Summicron performance must go to the modified-Gauss formula which uses critically computed internal air-spaces to do the work of additional lens elements.

Manufacturer description #4

From the LEICA photography magazine (1959, No. 3):

THE LEITZ LENS HERITAGE

UNCOMPROMISED IMAGE QUALITY

It is no coincidence that these new Summicron f/2 lenses were developed by Ernst Leitz. For they are but the latest in a series of lens developments in which the guiding rule has been uncompromised image quality. The lens designer has at his disposal an infinite combination of variables - more than 300 different types of optical glass - in any variety of thicknesses and curvatures. He can work with any number of elements and many differences in air spacing. In short, from the combinations and permutations, there must come order, and optical quality. And there must be facilities for converting that masterly design into a lens to take pictures - and into thousands of lenses for thousands of cameras. Any break in the link, from design to end use, and all other steps are wasted. That the results are so consistently noteworthy with Leitz lenses is due to a rare level of optical experience - with microscopes, lenses and cameras - and a traditional devotion to quality that has been nurtured for over 110 years. This is the Leitz Lens Heritage.

50mm SUMMICRON f/2

The 50mm focal length is the traditional "normal" lens for 35mm cameras. Its 45° angle of view and favorable depth-of-field are two reasons why most photographers use the 50mm for most of their pictures. The Dual-Range Summicron - with focus and automatic parallax compensation to 19" - is probably the most useful 50min focal length in photography. The 7-element 50mm Summicron is available in rigid bayonet mount for Leica M-Series cameras, or in collapsible thread mount at $129; and in the Dual-Range model for M-Series Leicas at $168.

35mm SUMMICRON f/2

The 35mm focal length with a wider angle of view (64°) is used for relating the subject to its background, for covering a large picture area from close quarters. It is indispensable to the photo journalists, who use its added depth-of-field for zone focusing, when the assignment calls for fast, off-the-cuff shooting. The 35mm Summicron f/2 is free of distortion; features oversize front and rear elements for peak performance at full aperture; and includes a convenient finger-tip focusing lever. The 8-element lens focuses to 2'4" and is available in bayonet mount for the Leica M-2 or in thread mount at $174; in bayonet mount for Leica M-3, with RF Attachment - that couples the rangefinder and viewfinder to the 35mm focal length- $207.

90mm SUMMICRON f/2

The 90mm long-focus lens provides 1.8x magnification compared to the 50mm focal length. It is most useful for head-and-shoulder portraits, candids from afar, news, theater and sports photography. The 90mm Summicron f/2 features a lightweight mount for steady, hand-held shooting (even at slow speeds); a built-in telescoping lens hood; click stops and half stops. The 6-element lens is available in bayonet or thread mount (rangefinder coupled) at $199.50; also available in short mount for use on the Visofiex II at $192.00. A short focusing mount is available for the rangefinder model permitting dual-use on your Leica and with the Visoflex II.

Manufacturer description #5

From the Message to Leica dealers:

NEW RIGID 50mm SUMMICRON f/2 LENS FOR THE M 3

The new rigid 50mm Summicron for the M 3 was announced at Photokina and reference has been made to it in some of our literature. Starting at about the time of the New York Show it will become the standard f/2 lens for the Leica M 3 Camera. The lens unit of this rigid Summicron can be removed from its focusing mount and used with a number of new close-up accessories in the same manner as the dual range Summicron.

It was originally contemplated that the production of the collapsible 50mm Summicron for the M 3 would be continued. However, as a result of problems arising from placing the new dual range Summicron and the rigid Summicron into production, Wetzlar has discontinued the production of the collapsible Summicron for the M 3 camera but is continuing the production of the collapsible Summicron with screw mount.

Our supply of collapsible Summicrons with bayonet mount is practically exhausted. However, if anyone prefers a collapsible Summicron we can supply a screw mounting Summicron with a bayonet adapter firmly affixed at the same price as the regular Summicron M.

Manufacturer description #6

From the "New Leica Equipment Supplement to the 13th Edition LEICA MANUAL AND DATA BOOK":

The new 50mm Summicron f/2, in rigid, noncollapsible mount, is now the standard f/2 lens for the Leica M 3 camera. The lens unit of this rigid Summicron can be removed from its focusing mount and used with a number of new close-up accessories in the same manner as the lens unit of the Dual Range Summicron. Lens unit and mount are matched to one another and bear identical serial numbers.

The collapsible mount 50mm f/2 Summicron is no longer available in bayonet style but is still being made with the screw mount for the IIIg and earlier Leicas. However, M 3 owners who prefer a collapsible Summicron, can use the screw-mounting collapsible Summicron with the 50mm bayonet adapter.

Manufacturer description #7

This universal lens is a masterpiece of modern optics and regarded the world over as a model of perfection. Even at full aperture its image quality is outstanding. This is the lens for all work demanding wide aperture combined with absolutely first rate definition. A special model has a close-up focusing range with automatic parallax compensation, and rangefinder coupling for both ranges, INFINITY - 1 metre and 88 cm - 48 cm.

Manufacturer description #8

The 50mm SUMMICRON is a masterpiece of optical engineering, delivering high speed with actual gains in image quality. Even at f/2 its corner-to-corner sharpness, contrast and resolving power are outstanding. The lens for exacting photographer who demand high speed plus critical definition, the 50mm Summicron was offered in two rigid mountings with removable lens-heads for use in various LEITZ close-focusing and copying devices. In addition to the standard model, with focusing range from infinity to 40 inches, the special "dual-range" model has an additional close-focusing range bringing LEICA rangefinder accuracy and automatic parallax compensation down to 19 inches from the film plane.

From the editor

Non-collapsible version of the predecessor. The optical design was revised: different glass was used for the front element, and the rear element is recessed about 4mm deeper than that of the collapsible lens.

The lens accepts both 39mm screw-type and 42mm slip-on filters.

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Chromatic aberration

There are two kinds of chromatic aberration: longitudinal and lateral. Longitudinal chromatic aberration is a variation in location of the image plane with changes in wave lengths. It produces the image point surrounded by different colors which result in a blurred image in black-and-white pictures. Lateral chromatic aberration is a variation in image size or magnification with wave length. This aberration does not appear at axial image points but toward the surrounding area, proportional to the distance from the center of the image field. Stopping down the lens has only a limited effect on these aberrations.

Spherical aberration

Spherical aberration is caused because the lens is round and the film or image sensor is flat. Light entering the edge of the lens is more severely refracted than light entering the center of the lens. This results in a blurred image, and also causes flare (non-image forming internal reflections). Stopping down the lens minimizes spherical aberration and flare, but introduces diffraction.

Astigmatism

Astigmatism in a lens causes a point in the subject to be reproduced as a line in the image. The effect becomes worse towards the corner of the image. Stopping down the lens has very little effect.

Coma

Coma in a lens causes a circular shape in the subject to be reproduced as an oval shape in the image. Stopping down the lens has almost no effect.

Curvature of field

Curvature of field is the inability of a lens to produce a flat image of a flat subject. The image is formed instead on a curved surface. If the center of the image is in focus, the edges are out of focus and vice versa. Stopping down the lens has a limited effect.

Distortion

Distortion is the inability of a lens to capture lines as straight across the entire image area. Barrel distortion causes straight lines at the edges of the frame to bow toward the center of the image, producing a barrel shape. Pincushion distortion causes straight lines at the edges of the frame to curve in toward the lens axis. Distortion, whether barrel or pincushion type, is caused by differences in magnification; stopping down the lens has no effect at all.

The term "distortion" is also sometimes used instead of the term "aberration". In this case, other types of optical aberrations may also be meant, not necessarily geometric distortion.

Diffraction

Classically, light is thought of as always traveling in straight lines, but in reality, light waves tend to bend around nearby barriers, spreading out in the process. This phenomenon is known as diffraction and occurs when a light wave passes by a corner or through an opening. Diffraction plays a paramount role in limiting the resolving power of any lens.

Doublet

Doublet is a lens design comprised of two elements grouped together. Sometimes the two elements are cemented together, and other times they are separated by an air gap. Examples of this type of lens include achromatic close-up lenses.

Dynamic range

Dynamic range is the maximum range of tones, from darkest shadows to brightest highlights, that can be produced by a device or perceived in an image. Also called tonal range.

Resolving power

Resolving power is the ability of a lens, photographic emulsion or imaging sensor to distinguish fine detail. Resolving power is expressed in terms of lines per millimeter that are distinctly recorded in the final image.

Vignetting

Vignetting is the darkening of the corners of an image relative to the center of the image. There are three types of vignetting: optical, mechanical, and natural vignetting.

Optical vignetting is caused by the physical dimensions of a multi-element lens. Rear elements are shaded by elements in front of them, which reduces the effective lens opening for off-axis incident light. The result is a gradual decrease of the light intensity towards the image periphery. Optical vignetting is sensitive to the aperture and can be completely cured by stopping down the lens. Two or three stops are usually sufficient.

Mechanical vignetting occurs when light beams are partially blocked by external objects such as thick or stacked filters, secondary lenses, and improper lens hoods.

Natural vignetting (also known as natural illumination falloff) is not due to the blocking of light rays. The falloff is approximated by the "cosine fourth" law of illumination falloff. Wide-angle rangefinder designs are particularly prone to natural vignetting. Stopping down the lens cannot cure it.

Flare

Bright shapes or lack of contrast caused when light is scattered by the surface of the lens or reflected off the interior surfaces of the lens barrel. This is most often seen when the lens is pointed toward the sun or another bright light source. Flare can be minimized by using anti-reflection coatings, light baffles, or a lens hood.

Ghosting

Glowing patches of light that appear in a photograph due to lens flare.

Retrofocus design

Design with negative lens group(s) positioned in front of the diaphragm and positive lens group(s) positioned at the rear of the diaphragm. This provides a short focal length with a long back focus or lens-to-film distance, allowing for movement of the reflex mirror in SLR cameras. Sometimes called an inverted telephoto lens.

Anastigmat

A photographic lens completely corrected for the three main optical aberrations: spherical aberration, coma, and astigmatism.

By the mid-20th century, the vast majority of lenses were close to being anastigmatic, so most manufacturers stopped including this characteristic in lens names and/or descriptions and focused on advertising other features (anti-reflection coating, for example).

Rectilinear design

Design that does not introduce significant distortion, especially ultra-wide angle lenses that preserve straight lines and do not curve them (unlike a fisheye lens, for instance).

Focus shift

A change in the position of the plane of optimal focus, generally due to a change in focal length when using a zoom lens, and in some lenses, with a change in aperture.

Transmittance

The amount of light that passes through a lens without being either absorbed by the glass or being reflected by glass/air surfaces.

Modulation Transfer Function (MTF)

When optical designers attempt to compare the performance of optical systems, a commonly used measure is the modulation transfer function (MTF).

The components of MTF are:

The MTF of a lens is a measurement of its ability to transfer contrast at a particular resolution from the object to the image. In other words, MTF is a way to incorporate resolution and contrast into a single specification.

Knowing the MTF curves of each photographic lens and camera sensor within a system allows a designer to make the appropriate selection when optimizing for a particular resolution.

Veiling glare

Lens flare that causes loss of contrast over part or all of the image.

Anti-reflection coating

When light enters or exits an uncoated lens approximately 5% of the light is reflected back at each lens-air boundary due to the difference in refractive index. This reflected light causes flare and ghosting, which results in deterioration of image quality. To counter this, a vapor-deposited coating that reduces light reflection is applied to the lens surface. Early coatings consisted of a single thin film with the correct refractive index differences to cancel out reflections. Multi-layer coatings, introduced in the early 1970s, are made up of several such films.

Benefits of anti-reflection coating:

Circular fisheye

Produces a 180° angle of view in all directions (horizontal, vertical and diagonal).

The image circle of the lens is inscribed in the image frame.

Diagonal (full-frame) fisheye

Covers the entire image frame. For this reason diagonal fisheye lenses are often called full-frame fisheyes.

Extension ring

Extension rings can be used singly or in combination to vary the reproduction ratio of lenses. They are mounted between the camera body and the lens. As a rule, the effect becomes stronger the shorter the focal length of the lens in use, and the longer the focal length of the extension ring.

View camera

A large-format camera with a ground-glass viewfinder at the image plane for viewing and focusing. The photographer must stick his head under a cloth hood in order to see the image projected on the ground glass. Because of their 4x5-inch (or larger) negatives, these cameras can produce extremely high-quality results. View cameras also usually support movements.

135 cartridge-loaded film

43.27 24 36
  • Introduced: 1934
  • Frame size: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2
  • Double perforated
  • 8 perforations per frame

120 roll film

71.22 44 56
  • Introduced: 1901
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated

120 roll film

79.2 56 56
  • Introduced: 1901
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated

120 roll film

89.64 56 70
  • Introduced: 1901
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated

220 roll film

71.22 44 56
  • Introduced: 1965
  • Frame size: 56 × 44mm
  • Aspect ratio: 11:14
  • Diagonal: 71.22mm
  • Area: 2464mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

79.2 56 56
  • Introduced: 1965
  • Frame size: 56 × 56mm
  • Aspect ratio: 1:1
  • Diagonal: 79.2mm
  • Area: 3136mm2
  • Unperforated
  • Double the length of 120 roll film

220 roll film

89.64 56 70
  • Introduced: 1965
  • Frame size: 70 × 56mm
  • Aspect ratio: 5:4
  • Diagonal: 89.64mm
  • Area: 3920mm2
  • Unperforated
  • Double the length of 120 roll film

Shutter speed ring with "F" setting

The "F" setting disengages the leaf shutter and is set when using only the focal plane shutter in the camera body.

Catch for disengaging cross-coupling

The shutter and diaphragm settings are cross-coupled so that the diaphragm opens to a corresponding degree when faster shutter speeds are selected. The cross-coupling can be disengaged at the press of a catch.

Cross-coupling button

With the cross-coupling button depressed speed/aperture combinations can be altered without changing the Exposure Value setting.

M & X sync

The shutter is fully synchronized for M- and X-settings so that you can work with flash at all shutter speeds.

In M-sync, the shutter closes the flash-firing circuit slightly before it is fully open to catch the flash at maximum intensity. The M-setting is used for Class M flash bulbs.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

X sync

The shutter is fully synchronized for X-setting so that you can work with flash at all shutter speeds.

In X-sync, the flash takes place when the shutter is fully opened. The X-setting is used for electronic flash.

MF

Sorry, no additional information is available.

ITDOO / 12570 (1956)

For SUMMARON 3.5cm and SUMMICRON 5cm with E39 mounts. Velvet lining for reverse positioning. Narrow chrome band with above lens names engraved on black conical portion.

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.

SOOFM / 12516 (1954)

For SUMMICRON 50mm, f2. Similar to final version of SOOPD. Engraved "Summicron" on side.

14032

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

14051

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

14031

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

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, Leica, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance (distance from the mechanical rear end surface of the lens mount to the focal plane) is also different.

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. Magnification is expressed as a ratio. 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.

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 lens element 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.