Leitz Wetzlar Summicron 50mm F/2 [II] Dual Range

Standard prime lens • Film era • Discontinued


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 "David Douglas Duncan" (16 units) 2014 
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 


10 blades

Optical design:
35mm full frame
Leica M
46.8° (35mm full frame)
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:
Diaphragm mechanism:
Diaphragm type:
Aperture control:
Aperture ring
10 (ten)
Coupled to the rangefinder:
<No data>
Focusing modes:
Manual focus only
Manual focus control:
Focusing ring
Physical characteristics:
<No data>
Screw-type 39mm
ITDOO / 12570
IROOA / 12571
SOOFM / 12516
14031 (front)
14032 (front)
14051 (rear)

Sources of data

  • Leica lenses booklet (PUB. 11-34d) (January 1963).
  • Leica lenses booklet (PUB. 11-34b) (October 1961).
  • Leitz General Catalogue (October 1961).
  • LEITZ General Catalogue for the LEICA system (June 1966).

Manufacturer description #1

From the LEICA photography magazine (Fall 1956, Vol. 9, No. 3):

new Summicron focuses to 19 inches!

two focusing ranges: both work with rangefinder-viewfinder!

Another Photokina sensation this year was the new bayonet-mounting, noncollapsible 50mm Summicron f/2 for the M-3. It has two focusing ranges - one for normal working distances, another for close-ups. There is automatic parallax compensation in both ranges and you work through range- and viewfinder as with other Leica lenses.

The normal focusing range of the new lens is from infinity to 3 feet, 4 inches; the close-focusing range runs from 2 feet, 10 inches down to 19 inches. The latter range gives reproduction ratios from 1:15 to 1:7.5. A focusing scale is provided for both ranges.

optical viewing unit

With the new lens mounted normally on the M-3, the close-focusing range is locked, so that no mistakes are possible in focusing or framing due to using the lens in a wrong position. To unlock the close-focusing range (and simultaneously lock the normal range), you must mount the auxiliary optical unit on the lens. This unit slides over the upper rim of the lens mount and corrects the range- and viewfinder images of the camera for use at close range.

With the auxiliary optical unit in place, the normal focusing range of the lens mount is blocked and cannot be used until the optical unit is removed. You can buy the lens without it and add it later at any time. The new lens does not replace the collapsible Summicron, which will still be available.

used with Focaslide

The lens unit of the dual-range Summicron can be unscrewed and used on either the Bellows Focusing Device, the BOOWU-M or the new Focaslide for the Leica M-3. It is attached to the Focaslide with a special helical focusing mount.

The price of the lens is $198.00 with the optical viewing unit. The unit alone costs $22.50.

Manufacturer description #2

October 1, 1956:

Ernst Leitz, Wetzlar, has announced at the Photokina in Cologne, Germany, several new Leica items which will be of extreme interest to all Leica owners.

Dual-Range Summicron for the M-3

Supplementing the collapsible Summicron which continues to be available, the new 50mm Dual-Range Summicron f/2 provides in addition to its normal focusing range, a near focusing range down to 19 inches.

The Dual-Range Summicron is in a rigid mount and features an optical viewing unit which slips over the top of the lens to correct the range- and viewfinder images for work at close distances. The normal focusing range is from infinity down to 3 feet, 4 inches; the close-focusing range is from 2 feet, 10 inches to 19 inches.

Not only does the lens focus through the range- and viewfinder of the M-3 in both ranges, but parallax compensation is automatic all the way down to 19 inches.

The optical viewing unit is used only in the close-focusing range of the new lens. A special safety device makes operation foolproof; the lens without viewing unit cannot be used in the close-focusing range. With viewing unit in place, it cannot be used in the normal focusing range.

The new Dual-Range Summicron comes in a non-collapsible bayonet mount for M-3 Leicas only. Its lens unit is removable and can be used with the new Focaslide for M-3 cameras and (with adapter) the new BOOWU-M Auxiliary Reproduction Device.

Manufacturer description #3

Leica ad, December, 1956:

NEW 50mm SUMMICRON gives you close-up vision with viewfinder-rangefinder focusing system!

Now you can switch from normal range to close-up work, using the same lens and sighting through the camera viewfinder. The new 50mm Summicron f/2 has a unique dual-range focusing mount and optical viewing unit which permit rangefinder function and parallax correction over both focusing ranges - from infinity to 19 inches! With the new Summicron, you can obtain close-up images of areas as small as 7x10 inches, having reproduction ratios of from 1:15 to 1:7.5. When the lens is used in normal working range, detach the optical viewing unit from the camera. This new Summicron utilizes a linear diaphragm scale.

Manufacturer description #4

From the LEICA photography magazine (1958, No. 1):

the creative scope of a new lens

Dual-Range Summicron offers new convenience: quick changing from normal to close-up range

The fortunate owner of a Leica M-3 can have his photographic vision expanded in a unique way. The Dual-Range Summicron f/2 lens not only allows him to move up to within 19 inches of his subject but gives him new picture-taking convenience in the close-focusing range, a freedom that matches the traditional Leica ease and flexibility. The new 50mm lens offers the precision and rapidity of combined rangefinder-viewfinder focusing and the exactness of parallax-free bright-line framing in both ranges. In other words, with one lens, you can now shoot close-ups as quickly, conveniently, and accurately as you can shoot at normal distances, and check action and focus without interruption as you shoot.

Consider the extraordinary aspects of the new lens: first, how the lens does it; second, what it can do for you.

The lens itself is a true innovation of Leitz designers. The optical system combines unsurpassed correction and freedom from vignetting in both the normal and close-focusing ranges. Even at f/2, it gives outstanding resolution, unusually high contrast, and an excellent degree of color correction. Recently formulated, highly refractive optical glasses used in the production of the Dual-Range Summicron contribute greatly to the remarkable results obtainable.

An optical viewing unit which slips onto the top of the lens mount converts the rangefinder for close focusing, reducing the angle of view for this range, and extending parallax correction to 19 inches. The lens itself goes on the M-3 in the normal way and is used in a normal way for the normal focusing range, from infinity to 3 feet, 4 inches. When it is desired to switch to the close-up range, 2 feet, 10 inches, to 19 inches, the focusing ring, which is spring-loaded, is pulled out and moved across a stop. The optical viewing unit will then slide in place. A safety device prevents improper operation of the lens, with or without viewing unit.

At 19 inches, the Dual-Range Summicron cuts a field approximately 7 by 10 1/2 inches. At 34 inches, it outlines an area 14 by 21 inches. These figures give you an idea of the size of the "world" in which you would be working when sighting through the modified M-3 viewfinder. This brings us to the second consideration - what the lens can do for you. And we find that this 19-to-34-inches-away world is a challenging and unexploited realm - as far as spontaneity and realism go. We have worked this close before, but never with such ease.

Every kind of photographer will find a métier for this close-focusing range; to enumerate picture possibilities would be as dangerous as selecting subjects for someone else to photograph. Leica M-3 owners who have already acquired the lens are just beginning to discover the potentials of the Dual-Range Summicron. However, we have compiled a list of general applications, keyed to some of the individual approaches to photography, and you can take it from there. Here they are:

  • creative photography: The emotional and interpretive values of a face, hands, or anything close-up, especially in real action, or engrossed activity.
  • documentary photography: Hands at work, "portraiture" through details.
  • photojournalism: Telling details within the whole picture story - objects on an executive's desk, the tools of a craftsman, any revealing and informative close-up in existing light.
  • advertising illustration: True spontaneity in depicting the product in use. All other fields mentioned here can be considered for advertising.
  • pictorialism and the salon: A new ease in approaching the object or still life. The Dual-Range Summicron could unshackle the stiff and redundant images of yester-year, still seen in the monthly and annual exhibits.
  • industrial photography: Hands or equipment or both, in action. Laboratory procedures and operations in vivid detail.
  • fashion photography: A free and easy approach to gloves, shoes, accessories and jewelry.
  • nature photography: Plants, rocks and natural textures can now be approached quickly if necessary.
  • how-to-do-it photos: Editorial illustrations for home workshop, cooking and manual crafts can be depicted as actually happening.
  • personal records: All of the foregoing fields have their counterparts in the amateur photographer's daily camera work. There are a thousand and one times when the hand-held Leica must move in close. At the museum, in the park, at work, on vacation, a quick copy of a page out of a book or a "grab shot" of a small object or texture observed "away from home," all of these are within the province of the Leitz Dual-Range Summicron.

From the Popular Photography magazine (January 1957)

... Leitz also unveiled three completely redesigned lenses - a novel "dual range" Summicron, a Summaron wide-angle with an auxiliary element which adapts the M-3 (or MP) camera's viewfinder to the 35-mm field of view, and a 400-mm Telyt of 5 element Gauss-type construction.

The new Summicron 50-mm f/2 is in a rigid (non-collapsible) lens mount, and has two separate focusing ranges. When the lens is bayoneted into the mount of either "M" camera it focuses from infinity to about 39 1/2 inches. At the top of the lens barrel, flush against the camera body, there is a flat area with dovetail slots on either side, and a spring-loaded button in the center. A special close-focusing attachment slides into these slots, depressing the spring-button to unlock the close-focusing range, positioning separate optical elements in front of both the rangefinder and viewfinder windows. The lens is now prepared to focus from 34 to 19 inches with both the coupled-rangefinder and automatic parallax features of the M-3 and MP Leicas. The close-range focusing and framing device is very easy to attach and remove, and may be purchased separately when needed, or not at all, as it is not used over the normal focusing range.

The Summaron lens with the auxiliary optical unit for widening the M cameras' 50-mm viewfinder field to cover the greater angle of field of the 35-mm focal length (like the dual range Summicron) is made only for the Leica M-3 and MP cameras. The optical-field compensating device, which superficially resembles the Summicron close-range unit, attaches to the lens in much the same way. Unlike the Summicron, however, this gadget must be purchased with the lens which, as a matter of fact, will neither focus nor couple to the rangefinder without it. It's also worth noting that this new Summaron focuses as close as 26 inches instead of the 3 1/2 feet which has been standard heretofore.

Both the new Summicron and Summaron lenses have linear diaphragms which give even spacing between consecutive f-stops. In other words, the distance between f/2 and f/2.8 is exactly equal to the spacing between f/11 and f/16. Another point about the new Summicron is that it can be removed from the rigid dual-range lens mount for use with the new Focaslide copying attachment. Another rigid-mount Summicron introduced at Photokina has only one focusing range (34 inches to infinity) but all other features of the dual-range version.

From the editor

A special version of the SUMMICRON 50/2 with a close-up focusing range with automatic parallax compensation, and rangefinder coupling for both ranges, INFINITY - 1 metre and 88 cm - 48 cm.

According to the "Leitz/Leica Photographic Equipment Catalog 45" (effective January 1, 1972), for use on M5 the lens and viewing unit must be modified by E. Leitz.

Weight: 11 3/4 oz. (lens), 1 3/4 oz. (viewer).

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

Other standard prime lenses in the Leica M system

Sorted by focal length and speed, in ascending order
Leica M mount (27)
Leitz Wetzlar Elmar 50mm F/3.5 [III] [ELMAR-M / 11110]CollapsibleM4 - 31.00mE39 1954 
Leitz Wetzlar Elmar 50mm F/2.8 [I] [ELMOM / 11612, ELMOM / 11112]CollapsibleM4 - 31.00mE39 1958 
Leica Elmar-M 50mm F/2.8 for M6J (1640 units)CollapsibleM4 - 30.70mE39 1994 
Leica Elmar-M 50mm F/2.8 [II] [11831, 11823]CollapsibleM4 - 30.70mE39 1995 
Leica Summarit-M 50mm F/2.5 [11644]M6 - 40.80mE39 2007 
Leica Summarit-M 50mm F/2.4 [11680, 11681]M6 - 40.80mE46 2014 
Leitz Wetzlar Summicron 50mm F/2 [I] [SOOIC-M / 11116]CollapsibleM7 - 61.00mE39 1954 
Leitz Wetzlar Summicron 50mm F/2 [II] [11117, 11118, SOMNI / 11818]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 
Leica Summicron-M 50mm F/2 [V] [11826, 11816]M6 - 40.70mE39 1994 
Leica APO-Summicron-M 50mm F/2 ASPH. [11141, 11142]M8 - 50.70mE39 2012 
Leitz Wetzlar / Leitz Canada Summarit 50mm F/1.5 [SOOIA-M / 11120]M7 - 51.00mE41 1954 
Leitz Wetzlar Summilux 50mm F/1.4 [I] [11113, SOOME / 11114]M7 - 51.00mE43 1959 
Leitz Wetzlar Summilux 50mm F/1.4 [II] [SOOME / 11114]M7 - 51.00mE43 1961 
Leitz Wetzlar Summilux 50mm F/1.4 [II] [11113, 11114]M7 - 51.00mE43 1968 
Leica Summilux-M 50mm F/1.4 [III] [11868, 11856]M7 - 50.70mE46 1995 
Leica Summilux-M 50mm F/1.4 [III] Titanium [11869]M7 - 50.70mE46 1995 
Leica Summilux-M 50mm F/1.4 ASPH. [I] [11891, 11892]M8 - 50.70mE46 2004 
Leica Summilux-M 50mm F/1.4 ASPH. [II] [11728, 11729]M8 - 50.45mE46 2023 
Leitz Wetzlar Noctilux 50mm F/1.2 [11820]M6 - 41.00mS.VIII 1966 
Leica Noctilux-M 50mm F/1.2 ASPH. [11686]M6 - 41.00mE49 2021 
Leitz Canada Noctilux-M 50mm F/1 Type 1 [11821]M7 - 61.00mE58 1976 
Leitz Canada Noctilux-M 50mm F/1 Type 2 [11821]M7 - 61.00mE60 1978 
Leitz / Leica Noctilux-M 50mm F/1 Type 3 [11821]M7 - 61.00mE60 1982 
Leica Noctilux-M 50mm F/1 Type 4 [11822]M7 - 61.00mE60 1994 
Leica Noctilux-M 50mm F/0.95 ASPH. [11602, 11667]M8 - 51.00mE60 2008 

Lenses with similar focal length

Sorted by manufacturer name
Leica M mount (13)
Cosina Voigtlander Nokton 50mm F/1.1 VMM7 - 61.00m⌀58 2009 
Cosina Voigtlander Nokton 50mm F/1.5 Aspherical VMM6 - 50.70m⌀49 2013 
Cosina Voigtlander Heliar 50mm F/2 VM “Voigtlander 250th Anniversary” (2500 units)CollapsibleM5 - 31.00m⌀39 2006 
Cosina Voigtlander Nokton 50mm F/1.2 Aspherical VMM8 - 60.70m⌀52 2018 
Cosina Voigtlander Nokton 50mm F/1.5 Aspherical II VMM8 - 70.70m⌀43 2020 
Cosina Voigtlander APO-Lanthar 50mm F/2 Aspherical VMM10 - 80.70m⌀49 2020 
Cosina Voigtlander Heliar 50mm F/1.5 VMM6 - 30.50m⌀49 2021 
Cosina Voigtlander Nokton 50mm F/1 Aspherical VMM9 - 70.90m⌀62 2021 
Cosina Voigtlander Color-Skopar 50mm F/2.2 VMM7 - 60.50m⌀39 2024 
Konica M-Hexanon 50mm F/2M6 - 50.70m⌀40.5 1999 
Konica M-Hexanon 50mm F/1.2 Limited (2001 units)M7 - 60.90m⌀62 2001 
Carl Zeiss C Sonnar T* 50mm F/1.5 ZMM6 - 40.90mE46 2004 
Carl Zeiss Planar T* 50mm F/2 ZMM6 - 40.70mE43 2004 
Leica screw mount (45)
Canon 50mm F/1.2M7 - 51.00m⌀55 1956 
Canon 50mm F/1.4 IM6 - 41.00m⌀48 1957 
Canon 50mm F/1.4 IIM6 - 41.00m⌀48 1959 
Canon 50mm F/1.5M7 - 31.00mS.VII 1952 
Canon Serenar 50mm F/1.8 IM6 - 41.00mS.VI 1951 
Canon 50mm F/1.8 IIM6 - 41.00mS.VI 1956 
Canon 50mm F/1.8 IIIM6 - 41.00m⌀40 1958 
Canon Serenar 50mm F/1.9CollapsibleM6 - 43.5 ft.S.VI 1949 
Canon 50mm F/2.2M5 - 41.00m⌀40 1961 
Canon 50mm F/2.8 IM4 - 31.00mS.VI 1955 
Canon 50mm F/2.8 IIM4 - 31.00m⌀40 1957 
Chiyoko Super Rokkor 45mm F/2.8 [C]M5 - 31.00m 1947 
Chiyoda Kogaku Super Rokkor 50mm F/1.8M6 - 51.00m⌀46 1958 
Chiyoko Super Rokkor 50mm F/2.8 [C]M5 - 31.00m⌀40.5 1954 
Chiyoko Super Rokkor 50mm F/2 [C]M7 - 61.00m⌀43 1955 
Chiyoko Super Rokkor 50mm F/2M7 - 61.00m⌀40.5 1955 
Cosina Voigtlander Color-Skopar 50mm F/2.5 LSMM7 - 60.75m⌀39 2002 
Cosina Voigtlander Heliar 50mm F/2 LSM “Cosina 50th Anniversary, Bessa 10th Anniversary” (600 units)M5 - 31.00m⌀39 2009 
Cosina Voigtlander Nokton 50mm F/1.5 Aspherical LSMM6 - 50.90m⌀52 1999 
Fuji Photo Film Fujinon 50mm F/1.2M8 - 63.5 ft. 1954 
Konica Hexanon 50mm F/2.4 LSM (1000 units)CollapsibleM6 - 40.80m⌀40.5 1997 
Leitz Wetzlar / Leitz Canada Summarit 50mm F/1.5 [SOOIA / 11020]M7 - 51.00mE41 1949 
Leitz Hektor 50mm F/2.5 [HEKTO, HEKTORKUP, HEKTOCHROM]CollapsibleM6 - 31.00mA36 1931 
Leitz / Leitz Wetzlar Summar 50mm F/2 [SUMAR, SUMARKUP, SUMARCHROM]M6 - 41.00mA36 1933 
Leitz / Leitz Wetzlar Summitar 50mm F/2 [SOORE / 11015]CollapsibleM7 - 41.00mE36.4 1939 
Leitz Wetzlar Xenon 50mm F/1.5 [XEMOO]M7 - 51.00mA51 1936 
Leitz Wetzlar Summicron 50mm F/2 [I] [SOOIC / 11016]CollapsibleM7 - 61.00mE39 1953 
Leitz Wetzlar Compur-Summicron 50mm F/2 (150 units)M? - ?1.00m 1954 
Leitz Wetzlar Elmar 50mm F/2.8 [I] [ELMOO / 11512, ELMOO / 11012]CollapsibleM4 - 31.00mE39 1957 
Leitz / Leitz Wetzlar Summar 50mm F/2 [SUMUS, SUMUSKUP, SUMUSCHROM]CollapsibleM6 - 41.00mA36 1934 
Nikon Nikkor-H·C 50mm F/2 LSMCollapsibleM6 - 30.90mS.VI
Nikon Nikkor-H[·C] 50mm F/2 LSMM6 - 30.45mS.VI
Nikon Nikkor-S·C 50mm F/1.5 LSMM7 - 50.45m⌀40.5
Nikon Nikkor-S[·C] 50mm F/1.4 LSMM7 - 30.45mS.VII
Nikon Nikkor-N[·C] 50mm F/1.1 LSMM9 - 61.00m⌀62
Jupiter-8 50mm F/2
aka ЮПИТЕР-8 50mm F/2 [П]
aka ЮПИТЕР-8М 50mm F/2
M6 - 31.00m⌀40.5 1947 
Industar-61[L/D] 52mm F/2.8
aka И-61 52mm F/2.8
aka И-61Л/Д 53mm F/2.8
aka И-61Л/Д 55mm F/2.8
aka ИНДУСТАР-61Л/Д 55mm F/2.8
M4 - 31.00m⌀40.5
Jupiter-3 50mm F/1.5
aka ЮПИТЕР-3 50mm F/1.5 [П]
M7 - 30.90m⌀40.5 1948 
Industar-26M 50mm F/2.8
aka И-26м 52mm F/2.8
aka ИНДУСТАР-26м 50mm F/2.8 П
M4 - 31.00m⌀40.5 1954 
Teikoku Kogaku Zunow 50mm F/1.1 [I]M9 - 51.00m 1953 
Teikoku Kogaku / Zunow Opt. Zunow 50mm F/1.1 [II]M8 - 51.00m⌀54.5 1955 
Voigtlander Nokton 50mm F/1.5M7 - 51.00m 1953 
Yashica [Super-]Yashinon 50mm F/1.8M6 - 53.5 ft.⌀43 1959 
Yashica Yashikor 50mm F/2.8 [II]M5 - 40.90m⌀40.5 1959 
Yashica Yashikor 50mm F/2.8 [I]M4 - 33.5 ft.⌀40.5 1959 
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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 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 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 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.


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 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 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.


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.


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.


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.


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.


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.


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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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 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, 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.


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.


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.


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.