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

Standard prime lens • Film era • Discontinued



II Second generation.

Model history (11)

Leitz / Leitz Wetzlar SUMMAR 50mm F/2 [LSM]M6 - 41mA36 1933 
Leitz / Leitz Wetzlar SUMMAR 50mm F/2 [LSM]CollapsibleM6 - 41mA36 1934 
Leitz / Leitz Wetzlar SUMMITAR 50mm F/2 [LSM]CollapsibleM7 - 41mE36.4 1939 
Leitz Wetzlar SUMMICRON 50mm F/2 [I] [LSM]CollapsibleM7 - 61mE39 1953 
Leitz Wetzlar SUMMICRON 50mm F/2 [I]CollapsibleM7 - 61mE39 1954 
Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (1 unit)Collapsible 1956 
Leitz Wetzlar SUMMICRON 50mm F/2 [II]M7 - 61mE39 1956 
Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (sample) (1 unit) 1957 
Leitz Wetzlar SUMMICRON 50mm F/2 for M3 Gold (1 unit) 1957 
Leitz Wetzlar SUMMICRON 50mm F/2 Gold (1 unit) 1957 
Leitz Wetzlar SUMMICRON 50mm F/2 [II] [LSM] 1960 
Leitz Wetzlar SUMMICRON 50mm F/2 [II] Dual RangeM7 - 61mE39 1956 
Leitz Wetzlar SUMMICRON 50mm F/2 [III]M6 - 50.7mE39 1969 
Leitz / Leitz Canada SUMMICRON-M 50mm F/2 [IV]M6 - 40.7mE39 1980 
Leitz / Leitz Canada SUMMICRON-M 50mm F/2 “Leica 1913-1983” (200 units) 1983 
Leica SUMMICRON-M 50mm F/2 “Year of the Rooster” (268 units) 1993 
Leica SUMMICRON-M 50mm F/2 “LHSA 25th Anniversary” (151 units) 1993 
Leica SUMMICRON-M 50mm F/2 “Colombo ’92” (201 units) 1993 
Leica SUMMICRON-M 50mm F/2 [V]M6 - 40.7mE39 1994 
Leica SUMMICRON-M 50mm F/2 “RPS Royal Centenary” (100 units) 1994 
Leica SUMMICRON-M 50mm F/2 “Leica HISTORICA 20th Anniversary” (150 units) 1995 
Leica SUMMICRON-M 50mm F/2 “Gold Dragon” (300 units) 1995 
Leica SUMMICRON-M 50mm F/2 Gold “King of Thailand” (700 units) 1996 
Leica SUMMICRON-M 50mm F/2 Gold “Sultan of Brunei” (125 units) 1996 
Leica SUMMICRON-M 50mm F/2 “150 Jahre Optik” (30 units) 1999 
Leica SUMMICRON 50mm F/2 [LSM] 1999 
Leica SUMMICRON-M 50mm F/2 “Kanto” (100 units) 2000 
Leica SUMMICRON-M 50mm F/2 Titanium (500 units) 2001 
Leica SUMMICRON-M 50mm F/2 “50 Jahre SUMMICRON” (1000 units) 2003 
Leica SUMMICRON-M 50mm F/2 “Classic” (500 units) 2004 
Leica SUMMICRON-M 50mm F/2 Safari (500 units) 2019 
Leica APO-SUMMICRON-M 50mm F/2 ASPH.M8 - 50.7mE39 2012 
Leica APO-SUMMICRON-M 50mm F/2 ASPHERICAL for RED (1 unit) 2013 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. Titanium (333 units) 2016 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. Red (100 units) 2016 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. “LHSA 50th Anniversary” (500 units) 2017 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. Black (700 units) 2019 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. “Leica HISTORICA 45th Anniversary” (45 units) 2020 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. Titanium (250 units) 2022 
Leica APO-SUMMICRON-M 50mm F/2 ASPH. Gold “King of Thailand” (30 units) 2022 

Features highlight

10 blades


Production details:
Production status: Discontinued
Order No.:SOSIC / 11918 - silver
SOOIC-MN / 11318 - silver, with Optical Viewing Unit
11320 - silver, without Optical Viewing Unit
Original name:Ernst Leitz GmbH Wetzlar Summicron f=5cm 1:2
System:Leica M (1954)
Optical design:
Focal length:50mm
Maximum format:35mm full frame
Mount and Flange focal distance:Leica M [27.8mm]
Diagonal angle of view:46.8°
Lens construction:7 elements in 6 groups
Diaphragm mechanism:
Diaphragm type:Manual
Aperture control:Aperture ring
Number of blades:10 (ten)
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°
Coupled to the rangefinder:Yes
Closest focusing distance:1m
Maximum magnification:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics:
Maximum diameter x Length:<No data>
Filters:Screw-type 39mm
Slip-on 42mm
Lens hood:ITDOO / 12570
IROOA / 12571
SOOFM / 12516
Lens caps:14031 (front)
14032 (front)
14051 (rear)
Sources of data:
1. Leica lenses booklet (PUB. 11-34d) (January 1963).
2. Leica lenses booklet (PUB. 11-34b) (October 1961).

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).

Alternatives in the Leica M system

Sorted by focal length and speed, in ascending order

Lenses with similar focal length and speed

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Standard prime lens

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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.

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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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.