Leitz Wetzlar Summilux 50mm F/1.4 [I]

Standard prime lens • Film era • Discontinued

Model history (10)

Leitz Wetzlar Xenon 50mm F/1.5 [XEMOO] [LSM]M7 - 51.00mA51 1936 
Leitz Wetzlar / Leitz Canada Summarit 50mm F/1.5 [SOOIA / 11020] [LSM]M7 - 51.00mE41 1949 
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 (548 units) [SOWGE / 11014] [LSM] 1960 
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 
Leitz Wetzlar Summilux 50mm F/1.4 "Oskar Barnack 100th Anniversary" (1000 units) [11100] 1979 
Leitz Wetzlar Summilux 50mm F/1.4 "Leica 1913-1983" (200 units) [11114] 1983 
Leica Summilux-M 50mm F/1.4 "150 Jahre Photographie, 75 Jahre Leica Photographie" (1250 units) [10450] 1989 
Leica Summilux-M 50mm F/1.4 Gold "Sultan of Brunei" (350 units) 1992 
Leica Summilux-M 50mm F/1.4 Platinum "Sultan of Brunei" (250 units) 1992 
Leica Summilux-M 50mm F/1.4 "Traveller Edition" (500 units) [11855] 1994 
Leica Summilux-M 50mm F/1.4 [III] [11868, 11856]M7 - 50.70mE46 1995 
Leica Summilux-M 50mm F/1.4 Platinum "Sultan of Brunei" (125 units) 1996 
Leica Summilux-M 50mm F/1.4 "150 Jahre Optik" (30 units) [10482] 1999 
Leica Summilux 50mm F/1.4 [11621] [LSM] 1999 
Leica Summilux-M 50mm F/1.4 for M6 TTL "Øresundsbron" (75 units) [11622] 2000 
Leica Summilux-M 50mm F/1.4 for M6 TTL Millennium (2000 units) [11623] 2000 
Leica Summilux-M 50mm F/1.4 "Al-Thani" (16 units) 2001 
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. Titanium "50 Jahre M-System" (550 units) 2004 
Leica Summilux-M 50mm F/1.4 ASPH. Titanium "9/11 Memorial" (1 unit) 2005 
Leica Summilux-M 50mm F/1.4 ASPH. “LHSA Special Edition” (1500 units) [11627, 11628] 2005 
Leica Summilux-M 50mm F/1.4 ASPH. "60 Years PRC" (60 units) 2009 
Leica Summilux-M 50mm F/1.4 ASPH. "China’s 1911 Revolution" (101 units) [10556] 2011 
Leica Summilux-M 50mm F/1.4 ASPH. “Edition Hermès” (300 units) 2012 
Leica Summilux-M 50mm F/1.4 ASPH. “Edition 100” (101 units) 2014 
Leica Summilux-M 50mm F/1.4 ASPH. "Correspondent" (125 units) 2015 
Leica Summilux-M 50mm F/1.4 ASPH. Black [11688] 2015 
Leica Summilux-M 50mm F/1.4 ASPH. "Leica Galerie Frankfurt" (50 units) 2016 
Leica Summilux-M 50mm F/1.4 ASPH. “Meister Edition Berlin” (20 units) 2017 
Leica Summilux-M 50mm F/1.4 ASPH. “Jim Marshall” (50 units) 2017 
Leica Summilux-M 50mm F/1.4 ASPH. "Terry O’Neill" (35 units) 2018 
Leica Summilux-M 50mm F/1.4 ASPH. "SC Asset" (30 units) 2019 
Leica Summilux-M 50mm F/1.4 ASPH. for M10-P "White" (350 units) 2019 
Leica Summilux-M 50mm F/1.4 ASPH. [II] [11728, 11729]M8 - 50.45mE46 2023 

Features highlight

Ultra fast
MF
Manual
E43
filters

Specification

Production details:
Announced:1959
Production status: Discontinued
Order No.:11113 - black
SOOME / 11114 - silver
Original name:LEITZ WETZLAR SUMMILUX 1:1.4/50
System:Leica M (1954)
Optical design:
Focal length:50mm
Speed:F/1.4
Maximum format:35mm full frame
Mount:Leica M
Diagonal angle of view:46.8°
Lens construction:7 elements in 5 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/1.9 (in terms of depth of field)
Diagonal angle of view:36°
Diaphragm mechanism:
Diaphragm type:Manual
Aperture control:Aperture ring
Number of blades:<No data>
Focusing:
Coupled to the rangefinder:Yes
Closest focusing distance:1m
Magnification ratio:<No data>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Physical characteristics:
Weight:360g
Maximum diameter x Length:<No data>
Accessories:
Filters:Screw-type 43mm
Lens hood:XOOIM / 12521
Lens caps:14036 (front)
14051 (rear)
Sources of data:
1. Leica lenses booklet (PUB. 11-34d) (January 1963).
2. Interchangeable lenses are giving your LEICA new perspective booklet (PUB. 11-34) (April 1960).
3. Leica lenses booklet (PUB. 11-34b) (October 1961).
4. Leitz General Catalogue (October 1961).

Manufacturer description #1

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

The 50mm Summilux f/1.4, a superspeed lens, has among its elements a special glass whose formula was developed by Leitz research. This new, ultra-high speed lens has seven elements. And, thanks to design improvements made possible by the highly refractive glasses used in the lens, image definition is excellent, even at f/1.4. Minimum aperture is 1/16, and the focusing range is from infinity down to 3 1/2 feet. Focusing is done via a milled ring.

A linear diaphragm, with equidistant stop marks, makes it easy to set half-stops on the new lens, while click settings are provided at full-stop positions.

The Summilux comes complete with lens hood and a lens hood cap of special design. The lens hood cap may be kept in place when the hood is reversed on the lens for carrying in an eveready case. The lens is finished in matte chrome and has both depth-of-field scale and dual-distance scales (meters and feet) engraved on it. Price of the 50mm Summilux f/1.4 is $198.00 in bayonet mount. A screw-mount model will appear later.

Manufacturer description #2

Indispensable whenever dim available light must suffice without the use of flash, this ultra-high-speed lens was a favorite of professional photo-journalists and adventurious amateurs who regard difficult lighting conditions not as a barrier but a challenge. Its advanced design and rare-earth glass construction yield surprising crispness and freedom from vignetting at full aperture. With its tremendous speed and excellent quality this "night-and-day" lens makes available light color photography a practical reality. The lens was supplied with its own special reversible lens hood and lens-hood cap.

Manufacturer description #3

The SUMMILUX is a 7-element Gauss variant with 5 members. Excellent correction for coma as well as outstanding contrast rendering and freedom from reflections at full aperture f/1.4 deserve special emphasis.

Although the SUMMILUX is designed above all for exposures in poor lighting conditions, because of its large maximum aperture, it offers excellent general performance, suitable for all purposes within its focusing range. It is not, however, designed for use on close-focusing devices or for reproduction purposes (copy work).

From the editor

Introduced as a replacement for the Summarit 50mm F/1.5. Another modification of the Xenon design.

The number of aperture blades could be 12 or 16.

The lens accepts both 43mm screw-type and 45mm 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 [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 
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 [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/2M6 - 31.00m⌀40.5 1947 
Industar-61[L/D] 52mm F/2.8M4 - 31.00m⌀40.5
Jupiter-3 50mm F/1.5M7 - 30.90m⌀40.5 1948 
Industar-26M 50mm F/2.8M4 - 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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Daryl
Daryl
5 years ago

Beautiful imaging, with highlight flare at f1.4 , portraits are gorgeous, stopped down this lens is very sharp. The updated (1962-1994) Summilux has improved imaging at f1.4, eliminated the flare and the character at that aperture, at f5.6 the lens doesn’t achieve the sharpness of the 1959 Summilux. This is one of the most disregarded lenses in the Leica system and prices remain relatively modest by Leica standards. Build quality is the peak of Leica manufacturing, M3 era, solid and heavy feel. If you are considering the Summarit 50mm f1.5 (1954-1960) purchase this lens, it has a similar optical formula without the soft glass, and build quality is a quantum leap forward.

Copyright © 2012-2024 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

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.

XOOIM / 12521 (1960)

For SUMMILUX 50mm, f1.4. Engraved "1:1.4/50" and the codeword or catalogue number. Double trigger fastening.

14036

Replacement lens cap, chrome plated, for the 50mm SUMMILUX f/1.4 (fits front lens flange, not lens hood).

14051

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

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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/1.4 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.