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I am curious about different peoples opinion about how effective are Leica's slide-out hoods. I have seen conflicting posts for some time. As an example one person thinks the 75mm APO-Summicron is optically an excellent lens, except the lens hood is ineffective so the lens is a poor design. Another thinks the lens hood on the same lens is just fine. I know I am talking about a variety of lenses over several generations. But I have a variety of lenses from several generations. In some cases I have purchased additional hoods from third parties, such as from Mr. Overgaard, and some I have come to hate, like the plastic hood on the last version of the 50mm Noctilux f/1. One of the lenses I am most curious is the 50mm APO-Summicron, but I would like to ask about others as well...

Bonsoir Messieurs-Dames, ich weiß, ich bin verrückt 😊 - aber mit meinem wiedererwachten Faible für mechanisches Schwermetall konnte ich nicht widerstehen... Das ist also meine erste Leitz-Optik abseits meiner schönen Diaprojektoren. Natürlich soll sie gebührend ihre Stärken zeigen - etwa im Vergleich zu meiner seit langem vorhandenen und geschätzten Orgelpfeifenreihe aus Zeiss-C/Y-Optiken, inklusive des bekannten Planar 1,4 / 50 mm AEJ. Und da überlege ich, auf welchen Dia(!)-Filmen das Summicron seine Stärke besonders ausspielen könnte: schon in Schwarzweiß (was ich meist nutze) oder noch besser auf Farbfilm? 🤨 Was würdet ihr als Leitz-Erfahrene da sagen? Im Farbbereich zur Auswahl stünden Ektachrome 100D, Ektachrome E100, Fujichrome Provia 100 und Fujichrome Velvia 50. Im Schwarzweißbereich ist Fomapan R100 mein Standardfilm (normalerweise belichtet nach Nennempfindlichkeit, einen Teststreifen nach ISO 50 / 18° habe ich noch nicht entwickelt) ; der erste Testfilm in der Leicaflex ist momentan ein Fomapan 400, der als Teststreifen mit einer Belichtungsreihe für Umkehrentwicklung geplant ist. Kamera und Objektiv stammen übrigens den Nummern nach etwa von 1971. Die Leicaflex selber funktioniert soweit, nur hat sie beim Vorbesitzer offenbar über 30 Jahre im Schrank gelegen: Batterie ausgelaufen, Lasche gebrochen, die Kamera war sogar noch geladen, ein uralter Agfachrome CT100 mit alter Leverkusener Postleitzahl. Beim ersten Spannen und Auslösen hakte noch was in der Mechanik, aber das war schnell verschwunden. Sehr gediegene Kamera mit schön schwerem Objektiv 👍. Für mich genau das Richtige. Für nächstes Jahr plane ich eine Überholung bei Paepke in Düsseldorf. Evtl. gleich mit Umrüstung auf 1,5-V-Batterien. Aber: Farbe oder Schwarzweiß ? Merci für jeden guten Tip 🙂. Michael

Choosing the right Leica M lens can be a daunting and challenging thing, given the very rich variety in M focal lengths, lens character, maximum apertures, size, optical design etc. M lenses span many decades of evolution, with major milestone designs from two influential eras: Mandler’s classic, filmic look, and Karbe’s modern, technically optimized designs. There is also a huge variety of other choices. This guide highlights some of the key aspects of choosing the right M lenses - focal length, character, speed, form factor, price and rarity, helping you find the ideal lens for your style and needs (hopefully). I have created a checklist of five questions to ask before the purchase: WHAT FOCAL LENGTH DO I WANT? Current M lenses offer a range of focal lengths from 16mm super-wide to 135mm telephoto, with classic street photography favorites being 28mm, 35mm, and 50mm for their versatility. Portrait and telephoto options like 75mm, 90mm, and 135mm bring subjects closer and tighter, though focusing accuracy can be challenging with a rangefinder (EVF to the rescue where applicable). Of course some prefer wide and ultra wide lenses as their daily driver and many good and useful combinations between focal lengths have been suggested - 35mm + 75mm, 24mm + 50mm + 90mm, 21mm + 35mm etc. WHAT CHARACTER SHOULD THE LENS HAVE? Leica M lens character differs significantly between two major milestones - the Mandler era and the Karbe era. Walter Mandler designed lenses, known for their softer pre-aspherical "character" rendering and sometimes signature glow, emphasize color rendition and tonal transitions, often using classic glass types to create a unique 'Leica look.' Mandler’s lenses (like the Pre-ASPH 35mm Summilux) are loved for their dreamy, filmic qualities. Peter Karbe’s lenses later introduced APO (Apochromatic) and ASPH (Aspherical) technologies, delivering sharpness across the frame and reducing aberrations, like in the 35mm and 50mm APO-Summicron. These lenses prioritize technical perfection and "clinical" sharpness with minimal optical flaws and are (as per their designer) supposed to be used even wide open without any major quality loss issues. WHAT MAXIMUM SPEED DO I NEED? Usually the hustle is between f/2 and f/1.4 as common choices for their balance between light-gathering and size, keeping in mind that every f/1.4 lens is also a f/2 lens, but not vice versa. Fast lenses like the Noctiluxes (f/0.95 or f/1.25) offer ultra-shallow depth of field and excel in low light but are generally larger, bulkier, heavier, and more challenging to focus. Summilux (f/1.4) lenses balance high speed and portability, while Summicron (f/2) lenses prioritize compactness and are versatile enough for most lighting conditions. Some users do not need the speed at all and are happy with f/2.8 or even f/4. IS FORM FACTOR AND SIZE IMPORTANT TO ME? The size of Leica M lenses ranges from ultra compact (such as the 28 summaron, 40 summicron, 28 elmarit, 35mm Summicrons I- IV or collapsible 50mm Elmar) to larger, heavier options. Mandler-era (and earlier) lenses are often more compact due to simpler optical formulas, while modern ASPH and APO lenses can be bulkier due to their complex elements, but this is not a particular rule. Many Leica M photographers favor compact lenses for the M system's signature light weight and unobtrusiveness and there are not that many choices of those in the latest modern line-up, which is a shame. HOW MUCH AM I PREPARED TO PAY? Prices of Leica M lenses have always been high. Used ones vary greatly depending on rarity, internet trends, special edition status and demand. Some have always been and others have just recently become collectibles, with prices rising through the roof. The rule of thumb for new lenses is the slower the lens, the cheaper it should be. If you are after a special, limited edition lens like a silver wide angle 28mm summicron, black paint 50mm noctilux or AA double aspherical 35mm summilux be prepared to pay the premium. No new lenses currently available as regular editions are rare and there are always some "sleepers" and bargains to be had. Please feel free to comment and add your observations. What are the perks you encountered when buying a M lens? Is the process confusing? Are they overpriced for what they offer?

Any idea what the numbers are on Light Lens Lab Summicron 35 8 element v1 remake Special Editions and total productions and versions of all regular samples of this lens? There are quite a few of those Special Editions, but they all have different numberings found only on the barrels. For example, the “Bare brass Special Edition” has XXX/998 written on the barrel, “Time” Special Edition has XXX/500, the “Safari” and “Titanium” have XXX/200 and the “White ceramic” Special Edition has no total number at all… Your valuable input is appreciated.

Just shot with a set of Leitz M 0.8 lenses. They are 8 M-mount cinemodded lenses consisting of 5 summiluxes (21, 24, 28, 35, 50), a noctilux (50) and two summicrons (75 and 90). Two 0.8 pitch rings for diaphragm and focus pulling, uniform filter diameter of 77mm and matte box diameter of 80mm. Used with RF to M adapter on RED Komodo. Avg. price per lens $10K.

Hallo zusammen Ich besitze M-Kameras und eine SL, neu möchte ich auch ins R-System einsteigen. Zu diesem Zweck kaufte ich mir eine Leicaflex SL2. Nun ist die Frage, welches das beste Objektiv dafür ist. Auf einer Webseite wurde das 50mm Summicron-R f2 II empfohlen (Artikel Nr 11215). Nun ist es gar nicht so einfach, dieses Objektiv zu finden. Häufiger sehe ich die Artikel Nr. 11216, welche auch als 50mm Summicron-R f2 II bezeichnet wird. Was ist der Unterschied zwischen diesen beiden Versionen und welche ist besser? Ist das 11216 auch mit der Leicaflex SL2 kompatibel und könnt ihr es empfehlen? Danke für eure Hilfe und lieber Gruss David

Hi, I have a 50mm summicron on an m4 body for film and was looking to pickup a digital body and adapter to use the lens on, I’m looking at the Fuji xpro 1 as it’s available cheaply and the form factor looks similar to my M4. Has anybody used an xpro with Leica m lens’s and if so how did they find the experience ? I’m not overly concerned about image quality as to be honest all digital raw files are easy to manipulate/work with. Other than the xpro there is the Sony Alpha range. Any info on this topic would be great, I have read through the topics on here but wanted an up to date assessment of the idea. thanks !

Hello All. I have a Summicron 28mm 2.0 Aspherical Lens. The model on the lens is "4068358" Does anyone have info about this specific version? Thanks, Michael

I am purchasing my first Leica! The M10-p. I was wondering which lens should I go with (current version brand new), the 35mm Summilux or 35mm Summicron. I do not consider the $ what so ever. Why go with one over the other? Is the Summilux strictly better but a matter of $$? Mostly street & reportage-style photography

Back in October when I bought my M10-P I also picked up a Voigtlander 50mm f1.2 but the call of the Summicron is loud and I quite fancy picking up a 50mm f2. I like the Voigtlander albeit I think it’s a bit bigger than ideal and weighty too. Wondering if a Summicron (v4 or v5) is really that ‘much better’ than the Voigtlander and if I’ll save save weight/size if I swapped over to one. Thoughts anyone?

I keep hearing good things about the Leica 40mm f2 Summicron. (also read Minolta Rokkor option). Just wondering if it’s as good as the reviews appear to be. Currently have a Nokton 35mm 1.4 & a 50mm 1.2 Nokton. The 50mm is a great lens but quite big and the 35 1.4 is a bit of a so and so for vignetting. Wondering if the 40mm f2 would cut the mustard on my M6/M10 combination.

Hi all, I have the worst luck buying Leica gear. Just purchased my 2nd 50 Cron IV on eBay. The seller mentioned haze, and I asked a lot of questions about it, but he really described it as no big deal. Got it today and found a pretty harsh ring of haze (or?) when light is pushed through. Looks decent otherwise, but I paid a competitive price ($950 USD). I really don’t want to go through another eBay return—the seller only mentioned in a DM, where I was asking specific questions about the lens, that he would offer to return for me if I wasn’t happy. I’m a shooter, don’t mind imperfections, but I do like to have nice gear. Was thinking of sending out for a CLA and forget about it. Obviously another $100 that I don’t want to spend, but ugh. what do you guys think? edit: also the small set screws on the aperture ring show a small amount of rust. I was wondering if that might be a sign of what contributed to the optical issue, poor storage perhaps?

Please share your opinion - if you have used or owned both lenses or any opinion on the topic. Mostly interested in comparison of render, sharpness, bokeh, pop etc. according to you - digital sensor or film. Early reports indicated the Hexanons were inferior. According to LHSA "some Hexanon early samples were reported to have focusing discrepancies, long since resolved, and that adversely affected initial sales. The current consensus: Konica KM and Leica M lenses, even those with longer focal lengths and wider apertures, can be used interchangeably on both cameras without problems." Lots of posts ot the tiny flange difference between the cameras, but here we discuss the lens. Mr. Rockwell even went as far as comparing the build of Summicron 50 (V) to the Hexanon-M 50 side by side and they indeed look almost identical. Check the pic on his webpage under the Hexanon topic. I have recently acquired a Hexanon-M 50/2 (photographed below on my M) and it is a stellar performer, slightly better wide open (especially corners) compared to Summicron M 50/2 (IV) in all the tests I did. YMMV.

I have a 1936 IIIa (s.n. 184223) that is in need of a lens, and I am now in a position to purchase one. I am leaning towards an f3.5 Elmar, as I think it complements the design of the camera beautifully both in compactness and in general appearance. The other lenses that are possibilities look a bit heavier and some even a bit too modern (even though some of them are not) for an 85 year old camera. I do have some points that I would appreciate comments on from those who know more about things Leica than I do, before I part with my cash. Firstly, condition. Quite a few lenses of this age have either dust or haze in the optics, and others have light marks. Would I be correct in assuming that dust or haze (provided the haze is not excessive) could be fixed with a CLA, as could a stiff aperture ring or focusing ring, but marks would generally not go away? Secondly, coatings. I see that, as a rule, Pre-War lenses are clear, and Post-War lenses are coated, and I understand the basic reasoning behind coating lenses is to cut down internal reflections but, in lenses of this quality, is there really much of a difference between the two? As for the lenses that I’m looking at: Elmar f3.5: My preferred option, as it is so light and compact and just looks so right on a Barnack Leica; Elmar f2.8: Aside from the extra f-stop, is there any reason for preferring this over the f3.5 Elmar? I find it does not have quite the same visual appeal as the f3.5 Elmar, but it could be useful in low light situations. Summar f2: Maybe another lens to consider. Again, not quite the same visual appeal as the f3.5 Elmar, but it could also be useful in low light situations. Summitar: From what I can see, it appears to be an updated and improved version of the Summar. Compared with the Elmar, and even the Summar, it looks a trifle bulky (yes, I know it isn’t really). Summicron: I’m not so keen on this one, as I find the appearance of the earlier lenses more appealing. I would also prefer to fit my camera with a lens that’s a bit closer to what it originally had. I have heard that the front element is made of an unusually soft glass, which means that these lenses are often badly scratched. Is this so? Thank you in advance for helping a newcomer to the world of Leicas.

Hey all, was curious about how the technical aspects of the Zeiss Biogon lenses ( 25mm or 28mm ) would match up with the CL + adapter. Im between either of those or the TL 23mm Summicron. Main use cases being travel and street photography. The image render from the Zeiss seems almost better than the 23mm but worried that it wont perform as well on the CL vs a dedicated lens. Has anyone used both on a CL or T? Thanks in advance.

Hi, does somebody own a Leica Summicron-M 1:2/28 Edition "Safari" or has seen real life pictures? I’d love to see additional pictures of the lens except the one official photography that’s spread all over the web.

Most of us seem to be photographers as well as collectors. Show me your favorite lenses, old and new alike. I like the Noctilux range for the extreme apertures, but I prefer the Summilux range for the best speed:size/weight ratio. Here’s a Summilux gathering of 21, 24, 28, 35, 50 and 75mm. All in black.

Hello, I'm new to the forum and hope to get some help from all your combined years of expertise. I want to buy my first 50mm, have a 35mm Summilux on the M-10P. After obsessive days of research I've settled on the rigid 50mm Summicron because I want to make pictures with a softer look. This would be my first time buying used on ebay so I'm being cautious. The seller is LeitzUSA, anyone have experience with them? LeitzUSA says the original owner purchased the lens brand new in 1975, serial # 245XXX. According to a chart on Ken Rockwell's site the Summicron f/2 Rigid was in production 1956 - 1968. Just wondering about the difference of 7 years from end of production till the purchase year. Does that seem likely? Is this the real deal or a later version? It is supposed to come with cards, hood in original box. Thank you in advance!

First of all: hello everybody I want to buy Summicron 50mm f2 v3. I have 2 dfferent lens to choose: 1. lens form about 1969r and it look like this: 2. lens from 1974 and this one is looking as is: In theory both are in good shape, after cla and working good. BUT is any difference beside desgin of lens from 1974 over older one? Price is nearyly the same. Second set is more complete, lens hood etc.... but first one is in shop in my city, second one --- only shipping. link to wiki: https://www.l-camera-forum.com/leica-wiki.en/index.php/Summicron_(II)_f%3D_5_cm_1:2

Hi everyone, I'm a new Leica user and bought an M6 Classic with a Leitz Summicron 2.0. The first roll came back blurry and I thought it was my shooting..then the second and third and so on. I sent my lens in to Keh (where I had gotten it) to be serviced and it came back with the same results. The images are generally overexposed when in very sunny conditions and all of them are very softly focused. I shot most of a roll at f16 and not one thing was in focus. I don't think it could be the lens, as it just came back from being properly adjusted so I'm wondering if it could be the body? I'm not sure what to do as I've spent my budget on this setup. I was going to send it in to get the VF upgrade because I was experiencing some flaring but that is not what is happening here. Any tips very much appreciated.

Hello, I recently purchased a used 28mm Summicron from the Leica Store in Soho. My first Leica lens, so in my excitement I don't really notice a potential issue with the lens. The numbers on the aperture ring don't line up center with the white dot, they fall a little to the left. I don't think this is normal, but is it a problem? Photo attached Also, there's al little more travel beyond f2 and f16. Not much at all, but it doesn't hard stop at f2 or f16. Is this normal? Thanks for the help! IMG_2657.heic IMG_2657.heic

saw this Very chubby Canadian Silver Summicron LTM today..quite heavy too

I have just purchased a pair of goggles for my Summicron 50mm DR. When mounted and the lens set to close focusing range there is significant vertical misalignment of the range finder patch. Does anyone have any experience of such an issue? Is this something that can be repaired, or should I return the goggles to the seller while I still can? Any guidance would be greatly appreciated!

Hallo zusammen! Ich habe mir das Summicron 35 Asph. Gekauft und besitze das 35 mm Voigtländer Nokton. In meiner Vorstellung benutze ich das Voigtländer weiter, wenn es bewusst um das unperfekte geht, die Sonne im Gegenlicht, nicht ganz scharf etc. .. hat jemand beide Objektive und kann mir sagen, ob eines von beiden eher ein Schubladendasein fristet? Oder allgemein die Erfahrung über die Nutzung beider Objektive parallel. liebe Grüße und danke!