Rehashed Design: Leica 50mm f/1.4 Summilux-M ASPH II (2023 version)
Related: bokeh, color bokeh, focusing, Leica, Leica 50mm f/1.4 Summilux-M ASPH, Leica Lenses, Leica M, Leica M lenses, Leica Summilux, Leica Summilux-M, Roy P
re: Leica M10 Monochrom
re: monochrome
More than any lens in the lens line, the Leica 50mm f/1.4 Summilux-M ASPH has been the standard. Gorgeous rendition, it was a favorite of mine, though I sold it some years ago.
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Leica announced the Leica 50mm f/1.4 Summilux-M ASPH II a few days ago without much fanfare, perhaps because it is mostly cosmetic in nature.
After 19 years (2023 vs 2004), Leica could not deliver a newer and better optical design for its flagship M lens?
The key term used by Leica is “refined”, very appropriate because the core optical performance is identical, as the MTF chart plainly shows. The optical formula is indeed identical, with the exception of a closer-focus capability that allows the rear group to move more to allow a bit closer focus.
The closer focus is useful for portraits, the revised lens hood is convenient but remains inadequate to prevent severe veiling flare. The 11-blade aperture might allow a bit smoother rendition in limited cases... but f/1.4 is a key use case and it has no effect there.
IMO, Leica M-lens focusing and diaphragm haptics are 2nd rate. Voigtlander M and Zeiss ZM lenses offer far superior haptics for both. I greatly dislike the lens-bottom focusing tab (versus the excellent focusing ring on Zeiss/Voigtlander), plus crisp 1/3 stop clicks are so much nicer on Zeiss. Each to his/her own, but it’s obvious which works best when you work with all the brands, and even more so when things turn cold.
Roy P writes:
Attached are the data sheets with MTFs for the current (designed in 2004) and the new 50/1.4 Summilux lenses. Looks like optically there is no change. So it’s mainly the closer focusing [useful positive], twist mechanism for the lens hood [mildly positive], and 11 vs. 9 diaphragm blades [should be marginally better bokeh at f/2 and beyond, but no difference at f/1.4]. It is also bulkier (0.25 inch thicker, 0.25 inch longer), which is a negative.
The most compelling feature of the new 50/1.4 is its short minimum focusing distance, usable only with the Visoflex. At the minimum focusing distance and f/1.4, the OOF blur should handily beat the Noctilux 50 at f/0.95, I imagine. It should make this lens much better for tight head shots. I don’t know for that one use case, if I want to upgrade my current 50/1.4, which I bought in 2010(!). I also have the Cosina Voigtlander 50/2 APO- Lanthar, which has the bragging rights with 12 diaphragm blades, and can also deliver a much sharper image for f/2 and beyond. But the min focusing distance for all the 50mm CV lenses is 70cm.
What is interesting though, is looking at what Leica did with both its new 35/1.4 and now the 50/1.4 M lenses, there were no changes to the optical design. I’m not sure what to make of this. Does Peter Karbe believe there is nothing more that can be done at f/1.4 for these focal lengths for the M cameras?!
I am also surprised that Leica didn’t take this opportunity to name the 50/1.4 an “APO Summilux”, considering Peter Karbe has been saying for many years that the 50/1.4 was really an apo design.
Oh, well…. My philosophy with new Leica products is to sit on my hands through the initial sugar high rush and wait a few months for things to cool off a little before making any purchase decisions.
DIGLLOYD: that last statement offers wisdom.
Leica’s use of the term APO (apochromatic) with M lenses is a full two grades inferior to Zeiss APO. The 50/1.4 is nowhere close to what I would call agree to be an APO lens—it has loads of secondary color issues and is at-a-glance inferior in color correction to Zeiss APO or Voigtlander APO and quite terrible (!!!) at f/1.4 for magenta/green color bokeh as well as violet fringing. Ditto for other Leica M APO lenses. That said, the Leica SL APO lenses are far better in color correction.
A marginal performer even at 24 megapixels
I went back and looked at some images taken with the Leica M9 and Leica M240 with the 50/1.4. What I see is a lens with problematic rearward focus shift, strong lateral chromatic aberration, pronounced magenta/green color bokeh, and a major struggle to make anything sharp near the edges. Any Sigma Art lens is wildly better.
Sorry Leica, but if all you’ve done is rehash a 3rd-rate performer, you’ve still got a fanboy lens good mainly for its overall rendering style which is an acquired taste that is no good for any kind of technically good imagery. Pretty piss-poor in fact.
M9 Digital Camera + Leica 50mm f/1.4 Summilux-M ASPH RAW: +10 Whites, +10 Clarity
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LEICA M (Typ 240) + Leica 50mm f/1.4 Summilux-M ASPH
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Leica Camera announces the new Leica Summilux-M 50 f/1.4 ASPH
Wetzlar, 13th April 2023
Pushing the boundaries of German optical design for even greater versatility and flexibility
Teaneck, NJ April 13th 2023. Since its origins in 1849, Leica Camera AG has revolutionized the world of photography more than once. One of these innovations was the introduction of the Leica M series in 1954, which has been making history through M cameras and lenses up to the present day. One of these legendary M lenses has now been refined and presents itself with the latest high-end technology while keeping its compact and lightweight design: the Leica Summilux-M 50 f/1.4 ASPH. – for even more flexibility and freedom when taking pictures.
With its standard focal length of 50 mm, the new Summilux-M is suited for almost every photographic situation. Like all M lenses, it is characterized by an unmistakably high image quality. The new Summilux-M exploits the full performance potential of new camera sensors and offers exceptionally high-contrast and detailed results even in difficult light conditions. Moreover, 11 instead of 9 aperture blades ensure a visibly rounder bokeh.
The closest focusing distance has also been extended, from 70 cm to 45 cm. This was only made possible by the double cam gear specially developed by Leica engineers. As a result, the rotation angle of the distance ring could be greatly expanded compared to the previous model so that focusing has become even more precise over the entire setting range. At the same time, neither the frame size nor the sensitivity of the focus has been changed, which makes the lens particularly comfortable to handle even when focusing within the extended close-up range. Up to 70 centimeters, focusing is done, as usual, via the rangefinder of the digital and analogue M cameras. For focusing within the extended close-up range between 70 and 45 centimeters, it is necessary to use Live View on the screen, the Visoflex or the Leica FOTOS app.
Additionally, the Summilux-M 50 f/1.4 ASPH. has now been refined technically and optically. Directly integrated in the lens, the new round lens hood can be accessed at any time with only a flick of the wrist. The new Summilux-M 50 f/1.4 ASPH. is available in the silver or black anodized version.
The focal length classic is suited for all current and for all future M cameras. In combination with the Leica M-Adapter L, this new lens also enables photographing and filming with the Leica SL2 and the SL2-S. This is system compatibility “Made by Leica”.
The Leica Summilux-M 50 f/1.4 ASPH. is available globally at Leica Stores, the Leica Online Store and authorized dealers starting on April 13th. The retail price of the M lens is $4,495 for the black version and $4,795 for the silver version.
Leica 50mm f/1.4 Summilux-M ASPH
