The Leica 50mm Summilux Pre Asph - Review by Milan Swolfs

[Milan_S]

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Most Leica shooters tend to be either 35mm or 50mm photographers. When you think of a Leica 50mm lens, the names Summicron, Summilux, and Noctilux immediately come to mind—each defining the speed of the lens. The Summicron, at f/2, is the slowest of the three, the Summilux sits in the middle at f/1.4, and the Noctilux is the fastest, featuring lenses faster than f/1.4. In Leica’s terminology, Summilux refers to any lens faster than f/2 but not exceeding f/1.4—for example, the Q has a 28mm Summilux lens with an f/1.8 aperture.

The 50mm focal length is often regarded as the classic choice. It provides a natural perspective and was the preferred focal length of legendary photographers like Henri Cartier-Bresson. Its versatility makes it ideal for everything from landscapes to portraiture.

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Personally, I am primarily a 50mm shooter. As a portrait photographer, I naturally frame most of my shots in portrait orientation—it’s how I see the world, and it aligns with how most people consume images today through smartphones and social media.

I own multiple Leica 50mm lenses and often bring two different ones to a shoot. For color work, I might use a Summilux ASPH or a newer Noctilux, while for monochrome photography, I lean towards a classic Noctilux f/1 or a slower Summicron Rigid. My preference for 50mm over 35mm comes from the slight compression it offers, which I find more flattering for portraits. The way I shoot is instinctive—I pick up a camera with a 50mm lens and immediately know what my frame will look like.

Beyond the technical aspects, I have a deep appreciation for vintage lenses, which is one reason why Leica often involves me in beta-testing their heritage line of M lenses. This series began with the 28mm f/5.6 Summaron, followed by the 90mm Thambar f/2.2, the Noctilux 50mm f/1.2, and more recently, the Steel Rim 35mm f/1.4. Having had the privilege of using both the original versions and their modern reissues, I always enjoy comparing their characteristics.

So, I was surprised when Leica asked me to field-test the 50mm Summilux Pre-ASPH. Unlike the Noctilux 50mm f/1.2 or the Steel Rim 35mm f/1.4, the Pre-ASPH Summilux 50mm remains relatively affordable on the used market—at least in the silver chrome version.

With Leica’s current 50mm lineup, which includes:

• 50mm Summilux ASPH (with closer focusing)
• Noctilux 50mm f/0.95
• Noctilux 50mm f/1.2
• 50mm APO-Summicron
• 50mm Summicron f/2

Where does the reintroduced 50mm f/1.4 Pre-ASPH fit in? To me, it’s closer in character to the 50mm Noctilux f/1.2 than to the 50mm Summilux ASPH. But before diving deeper into the reissue, let’s take a step back and explore the history of the Summilux 50mm.

The History of the 50mm Summilux Pre-ASPH

One of the most fascinating aspects of the 50mm Summilux is how little its design has changed across different versions. Throughout its history, the Summilux 50mm has consistently been regarded as a strong performer. The current production model, version 5, now offers close focusing down to 0.45m.

For this review, I’ll focus on the history of the Pre-ASPH version. While the Pre-ASPH Summilux underwent several mechanical refinements over the years, its optical formula remained unchanged. Despite advancements in lens technology, this classic lens continues to be highly sought after, admired for its distinctive rendering, smooth bokeh, and signature Leica glow. From a design point of view the 35mm Summilux v1 Steel Rim and the Summilux 50mm Pre-ASPH v1 and v2 are my favorite lenses by far.

50mm Summilux Version 1 (1959 - 1961)

Leica introduced the 50mm Summilux Pre-ASPH in 1958 as its fastest 50mm lens at the time. It was an evolution of the 50mm Summarit f/1.5, featuring a brighter f/1.4 aperture for improved low-light performance and better depth of field control.

With one of the shortest production runs of any Leica M lens, the Summilux Version 1 was primarily produced in silver chrome over brass. A small number of black paint versions were made on request, making them highly collectible. These black paint variants came in different finishes—some were fully painted, while others had a mix of aluminum and brass components. The most sought-after black paint models featured a full brass mount. The standard chrome brass version weighs approximately 325 grams.

One distinctive feature of the V1 Summilux is its rare E43mm filter thread. Original Leica E43 UV filters are becoming increasingly difficult to find, so if you come across one, it’s worth picking up. The lens has 10 diaphragm blades, contributing to its smooth and aesthetically pleasing bokeh.

Optically, the design of the V1 was similar to the Summarit 50mm f/1.5, but it introduced Lathanum glass to improve flare resistance. Additionally, it had better coatings compared to its predecessor. However, due to the softness of its coatings, many surviving copies show cleaning marks or haze. If you own one, avoid cleaning the lens with a cloth to prevent damage.

Key Features:

• Minimum focus distance: 1 meter
• Filter size: 43mm (E43)
• Glass: Lathanum glass
• Lens hood: XOOIM, separate bayonet-style hood

The Reverse scallop

The reverse scallop focus ring is a distinctive design feature found on certain versions of the Leica 50mm Summilux Pre-ASPH, particularly early Version 2 models. Unlike traditional scalloped focus rings, which have recessed grooves for grip, the reverse scallop design features raised ridges with inverted knurling.

This unique design has sparked discussions among Leica collectors and users. Some photographers appreciate its ergonomic feel, as the raised ridges provide a comfortable and precise grip for manual focusing. Others, however, find it less intuitive than the standard scalloped or tabbed focus rings found on later models.

While the reverse scallop Summilux is mechanically and optically identical to other V2 Pre-ASPH lenses, its distinctive focus ring makes it a sought-after piece among Leica enthusiasts. If you're considering one, it’s worth handling in person to see if the grip suits your preference.

Version 2 (Pre-ASPH, 1961–1995)

At first glance, the Version 1 and Version 2 Summilux in chrome over brass look almost identical. However, the most significant upgrade in the V2 is its new optical design, which offers noticeable improvements over the first version. Interestingly, Leica did not officially acknowledge this optical redesign until 1966—something that would surely drive today’s Leica enthusiasts crazy.

Some users claim that the V2 introduces more distortion compared to the V1, but after testing both extensively, I haven’t observed this in my own experience. Given that the V2 was in production for 34 years, it’s clear that Leica made substantial refinements to the lens over time.

The V2 also retains 10 diaphragm blades, ensuring a similar out-of-focus rendering to its predecessor.

Key Features:

• New and improved optical design
• Same barrel design as Version 1 until 1965
• Minimum focus distance: 1 meter
• Filter size: 43mm
• Aluminum barrel for black anodized versions after 1968

Image Quality & Rendering: Version 1 vs. Version 2

At f/1.4, both versions of the Summilux 50mm Pre-ASPH deliver a dreamy, soft rendering with a distinctive glow around highlights. The lower contrast compared to modern lenses contributes to a classic, filmic look that many photographers appreciate. While sharpness improves significantly when stopped down, these lenses are prized not for technical perfection but for their unique character and organic feel.

Handling & Practical Considerations

Both versions utilize a bayonet-style hood, which, while effective, can add bulk when attached. Without the hood, the lens remains compact, but some users find the external hood design less convenient than built-in alternatives.

Additionally, the 43mm filter thread may be a factor depending on your lens setup. If you already own other 43mm filter lenses, it’s a seamless fit. However, if your other lenses use 46mm or 49mm filters, you may need step-up rings to maintain consistency in your kit.

The Summilux Pre-ASPH Transition Model

Between the second and third versions of the 50mm Summilux Pre-ASPH, Leica introduced a transition model that incorporated design elements from both. While it retained the optical formula of the V2, it featured mechanical improvements that foreshadowed the V3, including a more refined focusing mechanism and subtle barrel design changes. This model is relatively rare and often overlooked, but it represents an interesting evolution in the Summilux lineup, bridging the gap between the classic rendering of earlier versions and the improved handling of later models.

Version 3 (Pre-ASPH, Late 1995 – 2005)

The third version of the 50mm Summilux Pre-ASPH maintains the same optical formula as its predecessors but introduces improved mechanics and usability. The most notable change is its ability to focus down to 0.7 meters, compared to the 1-meter limit of V1 and V2.

Key Features

• Minimum focus distance: 0.7 meters
• Filter size: 46mm
• Lens hood: Built-in sliding hood

Image Quality & Rendering

Like the previous versions, the V3 Summilux Pre-ASPH maintains a smooth, organic rendering, making it a great choice for portrait photographers. Some users feel it has slightly better contrast and sharpness compared to earlier versions, despite using the same optical formula.

Handling & Practical Considerations

The built-in sliding hood makes this version more compact and practical, though some photographers argue that it’s not very effective. Additionally, the 46mm filter size makes it more compatible with other modern Leica lenses.

The New 50mm Summilux Pre-ASPH Reissue

Leica’s reissue of the 50mm Summilux Pre-ASPH is based on the Version 2 design, retaining its core characteristics while incorporating modern refinements. Yet, it is more than just a revival—it is an homage to the evolution of this legendary lens, seamlessly blending the finest elements from three generations. The outer geometry harks back to the elegance of Version 1, the optics draw from the celebrated Version 2, and the close-focus function is inherited from Version 3. It is, in essence, the quintessential Summilux Pre-ASPH, distilled into a single form.

Crafted in brass with a chrome finish, the reissue has a more substantial build, giving it a premium feel. It is slightly wider than the original Pre-ASPH, resembling the Noctilux 50mm f/1.2 in proportions, though it remains a bit shorter. One notable design change is the omission of the waffle-pattern engraving near the M scale and red dot, replaced by a straight-line texture—a minor aesthetic difference that some enthusiasts may notice. The lens now features the more common E46 filter thread, an upgrade from the E43 filter found on the original, making it more convenient for filter compatibility.

 

With an aperture range from f/1.4 to f/16, the reissue measures 45mm in length without the hood and extends to 71mm with the hood attached, with an overall diameter of 58mm—slightly wider than the original V1 and V2 models, which were approximately 51mm. The reissue also carries more weight, coming in at 417g, compared to the 340g of the original.

One significant upgrade is the increase from 10 to 12 diaphragm blades, resulting in even smoother, more refined bokeh—something I’ll explore in more detail later. While staying true to the classic rendering of the original, the reissue brings subtle but meaningful refinements that make it a compelling option for both collectors and shooters.

For context, the Leica Noctilux-M 50mm f/1.2 ASPH. measures approximately 52mm in length without the lens hood and 79mm with the hood attached, with a diameter of about 61mm. It weighs around 405 grams. In comparison, the reissued 50mm Summilux Pre-ASPH is slightly more compact in length but has a similar weight, offering a different balance and handling experience.

Which Leica Lens?

I am a photographer, not a reviewer. I don’t focus on brick wall tests or technical discussions; instead, I judge lenses based on how they perform in real-world shoots. Having used many Leica lenses extensively, I have developed a strong sense of how they fit into the Leica lineup and how they translate into my photography.

Every week, I get questions from social media followers asking which Leica lens or camera they should buy. For a first Leica lens, I often recommend the 50mm Summilux ASPH or the 35mm Summilux, as they are versatile and well-rounded options. However, many photographers soon realize that Leica lenses are like paintbrushes—each one offers a different tool for creative expression. I frequently carry multiple focal lengths to a shoot, but I tend to rely on a 50mm for most of my work. Sometimes, I even bring two 50mm lenses because each has a unique look. For the Leica M11 Monochrom, I often choose the Noctilux f/1 or the 50mm Summicron Rigid, while for color work, I prefer the 50mm Noctilux f/1.2 ASPH. Each 50mm has its own distinctive rendering, making lens selection a crucial part of my creative process.

So why choose the new 50mm Summilux Pre-ASPH over other Leica 50mm lenses? During discussions with Murat, the Product Manager for M lenses, and Christoph, the M Product Manager, it became clear that some Leica shooters—including myself—are looking for a compact, fast lens with character. The Summilux Pre-ASPH was also introduced as an economical option for those who want a fast lens without jumping into the Noctilux series. Initially, when Leica briefed me about this lens, I wasn’t overly excited—I often gravitate toward more obscure lenses like the 73mm Hektor or the 66mm Elcan, or rare collector’s pieces like the 35mm Summilux Double ASPH.

 

 

How Does It Differ from the Original?

After testing the 50mm Summilux Pre-ASPH V2, I noticed some key differences between the original and the reissue. The original has more pastel tones, lower contrast, and is slightly softer compared to the reissue. A major limitation of V1 and V2 was the 1m minimum focusing distance, while the new version focuses down to 0.7m. While I rarely need close focusing for my work, this difference can be significant for certain applications.

Performance at f/1.4 and Beyond

In terms of sharpness, the new Summilux Pre-ASPH is sharper than the Noctilux 50mm f/1.2 wide open. Even at f/1.4, it holds a noticeable sharpness advantage. The lens also excels in color reproduction, particularly in the greens and reds. I took it to the Royal Gardens in Brussels, and it performed beautifully, capturing lush greens and delicate floral backgrounds with an elegant softness. The skin tones rendered by this lens are particularly gentle and natural, striking a perfect balance between sharpness and softness. Unlike the Noctilux 50mm f/1.2, which some find overly soft, the Pre-ASPH retains just the right amount of detail without becoming clinical.

The lens has a dual character—wide open at f/1.4, it’s dreamy and ethereal, but stopped down to f/2.8, it becomes razor-sharp and highly versatile. This makes it suitable for a wide range of photographic applications.

 

 

Where the Pre-ASPH Excels: Bokeh & Handling

One of the highlights of this lens is its bokeh. The rendering is creamy and smooth, yet it remains non-distracting and well-controlled. I used this lens continuously during my field testing, and I often felt that it could be the perfect all-in-one lens. It’s neither too heavy nor too large, it focuses close enough for portraits, and it renders backgrounds beautifully. Compared to the ASPH Summilux or the 50mm APO, it’s sharper but retains a softer, more organic look, particularly on skin tones.

Comparing to the 50mm Summilux ASPH

Of course, the 50mm Summilux ASPH is a much more modern lens in every way. It offers closer focusing at 0.45m, has less vignetting, higher contrast, and is sharper wide open. A key difference is that the ASPH version also controls chromatic aberrations better, significantly reducing purple fringing, which is more visible on the Pre-ASPH.

Does this make the Pre-ASPH a lesser lens? Absolutely not. The Pre-ASPH Summilux is for the romantics—the portrait photographers like myself who love swirly, pleasing bokeh. It offers a more nostalgic, filmic look that some may prefer over the technically perfect rendering of the Summilux ASPH.

Can It Be Your Only 50mm?

Yes. The Pre-ASPH Summilux has a dual personality—wide open, it’s full of character and atmosphere, but stopped down, it sharpens up beautifully with excellent contrast. It’s a lens that adapts to different needs, making it a fantastic one-lens solution for many photographers.

Can It Handle High-Resolution Sensors?

Many assume that older optical designs struggle with high-resolution digital sensors, but that’s not the case here. Every image in this review was shot with the Leica M11-D, proving that the Summilux Pre-ASPH holds up beautifully even at 60MP. I even printed a portrait of Thais with the Lamborghini Urraco, which was displayed at the Leica Store Beaumarchais during my exhibition "Echoes of Elegance: A Timeless Journey." The detail and rendering clearly held up, even in large-format prints.

Like the V1 and V2, the reissue still has some vignetting wide open, but this only adds to the lens’s character. By f/2.8, most of the vignetting disappears. Personally, I like a slight vignette—it draws the viewer’s attention to the subject and enhances the overall composition.

In the end, the Summilux Pre-ASPH reissue is an incredibly well-balanced lens, combining the best aspects of vintage rendering with modern usability. Whether you’re drawn to it for its history, its aesthetic, or its unique optical qualities, this lens has something special to offer.

 

 

The Proof of Concept

I combined this lens with the Leica M11-D, and although I also own the M11 Monochrom, I found myself strangely attached to using it with the M11-D. The color combination of the sensor of the M11-D and this lens is a match made in heaven. If someone were to ask me, "Milan, if you could pick only one lens for your M?"—this might hit all the spots for me. It has tons of character, but when stopped down, it becomes a high performer. The bokeh is one of the most beautiful I have ever seen, and it is very gentle on skin tones.

Once a year, there is an opportunity to visit the Royal Gardens of the Royal Family in Brussels. It was my second time there, and visitors are even allowed to bring a camera. I followed my usual "one camera, one lens" philosophy, bringing only this lens paired with the M11-D. The camera brought out some of the most pleasant colors, and the backdrop of flowers and plants resulted in gorgeous bokeh. The model for the day was my lovely fiancée, who usually assists with lighting but occasionally agrees to pose as well. The smooth tones and natural colors required only minimal editing on the skin. While I have not tested this lens with a film M camera, I can imagine it would pair beautifully with Kodak or Fuji film. The only downside is a bit of purple fringing when shooting wide open, but it’s more controlled compared to the Noctilux f/0.95, which, while a much faster lens, is also an ASPH lens.

For another shoot, I brought the lens into a setting that truly suits my style of photography—combining model Thais with a rare 1974 Lamborghini Urraco. This car, an often-overlooked gem in Lamborghini’s history, embodies a perfect mix of elegance and raw performance, making it an excellent subject for this lens. The combination of vintage Italian automotive design and the Summilux’s rendering resulted in a series of timeless images.

While most of the shoot was done using the Medium Format Leica S3, I also had the M11-D with this lens as a backup. The results? The model definitively chose some of the shots taken with this lens. It was easy to focus, allowing me to switch from the heavy S3 to the Leica M11-D, giving my back and shoulders some much-needed rest. One of the advantages of using the M11-D with this lens was its ability to shoot wide open even in full sun and artificial light, thanks to the high shutter speed of the electronic shutter.

A specific challenge during this shoot was photographing through the car’s windows. The S3’s autofocus often struggled in such conditions, whereas the M11-D, paired with this lens, made manual focusing a breeze—even with natural sunlight and Harlowe LED lights filtering through the glass.

Overall, this lens exceeded my expectations, proving itself as both a character lens and a high performer when stopped down. It handled beautifully in both natural light and more challenging artificial setups, cementing its place as one of my go-to lenses for my M-series cameras.

Final Thoughts – A Worthy Addition?

So, who should buy this lens? If you love classic Leica rendering but want modern usability, the new 50mm Summilux Pre-ASPH is an excellent choice. It offers a unique balance—dreamy at f/1.4, razor-sharp at f/2.8—making it an ideal all-in-one 50mm.

Would I personally buy it? Absolutely. It’s a fantastic lens that blends vintage charm with modern precision—exactly what I look for in a Leica lens.

Through the Archive’s Lens: A Glimpse into Leica’s Legacy

At the beginning of this review, I mentioned a few of my favorite lenses—each with its own story, character, and place in Leica’s rich history. As for what’s next in the heritage line, only time will tell.

For those with a passion for Leica’s past, the Leitz Park archive is a treasure trove of extraordinary pieces, where some of the most special and storied lenses can still be seen and appreciated. It's a place where history comes alive, offering a rare glimpse into the evolution of Leica’s craftsmanship. Of course, this is merely a reflection, not a suggestion of future plans. But isn’t it wonderful to dream?

Special thanks to Christoph Mueller and Murat Akkus from Leica Camera for their support and great conversations. A huge thank you to my fiancée Aliya for letting me take her shots, having the patience for my gear reviews, and tolerating me bothering her to pose. And finally, a big thank you to Thais for the amazing shoot we did—couldn’t have asked for a better collaboration!

About Milan Swolfs

Milan Swolfs is a fine art portrait photographer born in Antwerp, Belgium, renowned for his exquisite visual signature in the burlesque and vintage styles. His work captures the timeless Hollywood glamour of the 1920s and 1930s, showcasing both women and men in bold, confident expressions with a delicate and glamorous touch. He began his career photographing the biggest burlesque events in Europe before shifting his focus to fine art photography. An ambassador for Leica Camera, Milan's work has been published in LFI (Leica Fotografie International), Medium Format Magazine, and Viewfinder. He held his first solo exhibition, "Light of Seduction," at the Leica Store in Porto in 2022. By the end of 2024 until January 2025, Milan had the privilege to present his new work at the Leica Store Beaumarchais in Paris. The exhibition was called “Echoes of Elegance: A Timeless Journey.” Milan’s portraits are artistic celebrations of individuality and classic beauty, evoking the charm and allure of a bygone era.

You can find more of Milans work on: 

• Instagram
• his website

[jonoslack]

Excellent Milan

[cmoxon]

What an amazing review and such wonderful photographs!

[satijntje]

Such a great review with excellent images.
Thanks a lot dear Milan! 

[LocalHero1953]

Very helpful review and lovely photographs!

[sinjun]

Thanks! Nice lens. Shame about the weight, which I would class as too heavy.

[jakontil]

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Nice experince milan! Always love your portraits.. one i remember was your take on the noctillux 50 1.2 reissue 

[slavcho]

Thanks for the great review and the beautiful photos. And of course congratulations to Leica for this release!

[elmars]

Great review!

[imaculate]

Thanks for the compelling review. I think I am going to enjoy this classic Leica.

[PeterD]

A fascinating review. I must say that the earlier M-lenses do have a special quality that adds "that certain something", so that this addition is really welcome.

[Bear]

Great review and photos. An inspiration to shoot more in portrait orientation  

[Cronilux]

This just screams to me!

[Milan_S]

43 minutes ago, Cronilux said:

This just screams to me!

Is that good or bad ? 

[Cronilux]

vor 1 Minute schrieb Milan_S:

Is that good or bad ? 

Good. I love everything about it. One question though. How long is the focus throw? Any comparison to other lenses?

[Milan_S]

1 hour ago, Bear said:

Great review and photos. An inspiration to shoot more in portrait orientation  

Mobile devices and social media definitely changed the way we look at images. Portrait orientation feels natural to me. 

[Milan_S]

4 minutes ago, Cronilux said:

Good. I love everything about it. One question though. How long is the focus throw? Any comparison to other lenses?

The lens is one of the best built and imho one of the most beautiful lenses in the current Leica lineup. The focus throw is a bit longer comparable with the Noctilux f12. Which I actually really like. 

[Milan_S]

1 hour ago, PeterD said:

A fascinating review. I must say that the earlier M-lenses do have a special quality that adds "that certain something", so that this addition is really welcome.

Exactly Leica was always about that look and glow. This lens is definitely one of the most beautiful brushes in Leica’s line up and a more daily driver compared to the f1.2, the Steel Rim and Thambar (which I all love). 

[Olaf_ZG]

Thanks Milan. Great review.

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Hallo,

Look here: Leica M

[Milan_S]

3 hours ago, jakontil said:

Nice experince milan! Always love your portraits.. one i remember was your take on the noctillux 50 1.2 reissue 

Thank you glad you remembered those shots. I see myself not as a reviewer I leave this to others but as a storyteller and artist but the lenses are a great tool to paint my vision.