Leica Lenses Archives - Page 4 of 6

Leica Tele-Elmarit-M 90mm f/2.8 “Thin Nine” Review: The Compact Contradiction

Prologue: The Featherweight Maverick

In a world where “bigger is better” reigns, the 1974–1989 Leica Tele-Elmarit-M 90mm f/2.8 (aka Thin Nine) swoops in like a hummingbird at a hawk convention. Weighing just 330g and priced between 250–250–500 (2025 USD), this aluminum-and-glass paradox is the Mini Cooper of telephoto lenses—nimble, quirky, and unapologetically flawed. Born to defy Leica’s “heft equals quality” dogma, it’s a cult classic for wanderers and rebels.

Design: Minimalist Sorcery

Pocket Rocket
- Body: Anodized aluminum (black) or chrome (silver)—slimmer than a James Bond paperback, lighter than a barista’s cappuccino. Collapses into M bodies like a pocketknife.
- Generational Wars: The original “Fat Nine” (1964–1974) was a brass-clad bruiser; the Thin Nine traded muscle for marathon-runner agility.
The Foggy Quirk
- Prone to internal haze (think vintage spectacles in a sauna), its “breathing issues” divide collectors. Some call it cursed; others, character.

Optical Poetry: Sharpness Over Spectacle

Aspect	Thin Nine	Summicron-M 90mm f/2
Sharpness	Scalpel slicing moonlight	Chainsaw through oak
Bokeh	Soft-focus watercolor	Velvet sledgehammer
Weight	Featherweight boxer	UFC heavyweight
Drama	🎭🎭🎭🤍🤍	🎭🎭🎭🎭🎭

f/2.8 Wide Open: Center sharpness rivals modern APO glass; edges fade like a jazz saxophonist’s final note.
Flare Note: Unhooded, it paints golden halos like a Renaissance angel—perfect for accidental Kubrick moments.

The “Three Charms”

Traveler’s Muse: Fits in a coat pocket—ideal for hikes, street jaunts, or pretending you’re Cartier-Bresson on a caffeine bender.
Film Noir Vibes: On Tri-X @800, it renders shadows like Chinatown stills—gritty, moody, and full of secrets.
Chinese Proverb Footnote:“瑕不掩瑜”
(“Flaws cannot obscure the jade’s brilliance”)
A nod to how its haze and quirks add mystique, not misery.

Who Needs This Lens?

✓ Nomadic Shooters: Who measure life in miles, not megapixels
✓ Flaw Collectors: Believing “character” > clinical perfection
✓ Leica Hipsters: Craving underdog bragging rights (“Mine’s rarer than your APO!”)

Avoid If: You shoot weddings, fear haze, or think “vintage” means “eBay resale value.”

Final Verdict: The Beautiful Misfit

The Thin Nine is photography’s cult vinyl—a flawed gem for those who savor the hunt. For the price of a weekend in Lisbon, you gain:

A lightweight passport to 1970s optical rebellion
Proof that “imperfect” often means “unforgettable”
Permission to laugh at lens charts

Rating:
🎞️🎞️🎞️🎞️🤍 (film romantics) | 📱📱🤍🤍🤍 (pixel peepers)

“A lens that whispers: ‘Lightness comes at a price—but what a delightful one.’”

Pro Tips:

Haze Hack: Store with silica gel—it’s fussier than a Parisian sommelier.
Film Pairing: Kodak Double-X @800—grain dances with its glow.
Zen Mantra: Embrace the haze—call it “free Orton effect.”

Epilogue: The Wanderer’s Lens
Leica’s Thin Nine whispers: “Adventure isn’t found in perfection—it’s hiding in the flaws.” Like a well-loved passport stamped with questionable decisions, this lens rewards those who dare to wander. Now go chase light, haze and all. 🌄

Leica Elmar 90mm f/4 Review: The Unsung Poet of Vintage Glass

Prologue: The Bargain Balladeer

In a world obsessed with f/1.4 giants and ASPH wizardry, the 1954–1968 Leica Elmar 90mm f/4 sits like a forgotten first-edition Hemingway—timeless, undervalued, and quietly brilliant. Priced between 300–300–800 (2025 USD), this 180g aluminum-and-glass relic proves Leica magic doesn’t require a second mortgage. Think of it as the Volkswagen Beetle of lenses: humble, reliable, and endlessly charming.

Design: Minimalist Haiku

Pocket-Sized Titan
- Body: Anodized aluminum (black) or chrome (silver)—slimmer than a paperback, lighter than a barista’s latte. Collapses into Barnack bodies like a pocketknife.
- A36 Filters: Tiny as a thimble, retro as a rotary phone.
Generational Charm
- Early “gourd-shaped” models (quirky collectors’ items) vs sleek later versions—like comparing a vintage typewriter to an iPad.

Optical Zen: Sharpness with Soul

Aspect	Elmar 90mm f/4	Modern APO-Summicron 90mm
Sharpness	Hemingway’s prose—lean, mean	AI-generated perfection
Bokeh	Van Gogh’s wheat fields	CAD-rendered gradients
Weight	Featherweight boxer	UFC heavyweight
Joy Factor	🌞🌞🌞🌞🌞	🌞🌞

f/4 Wide Open: Razor-sharp at the center, edges softened like a 1970s Polaroid—flaws turned features.
Stopped Down: At f/8, it out-resolves modern zooms, rendering eyelashes like piano wires.

Street Photography: The Slow Waltz

Forces you to pause, observe, and frame—anti-Instagram therapy for the shutter-happy.
On film (Tri-X @400), it’s Cartier-Bresson’s ghost nodding approval.

The “Three Delights”

Stealth Mode: Tiny enough to vanish in your palm—street photography’s ultimate ninja tool.
Bokeh Surprise: At 1.5m, f/4 mimics 50mm f/2’s depth—backgrounds melt into watercolor washes.
Film Love: On Kodak Portra, skin tones glow like honey under Tuscan sun.

Who Needs This Lens?

✓ Analog Purists: Who think autofocus is cheating
✓ Budget Alchemists: Turning leaden prices into golden imagery
✓ Contrarians: Who’d choose a typewriter over ChatGPT

Avoid If: You shoot sports, crave bokeh orgies, or fear manual focus.

Final Verdict: The Joyful Rebel

The Elmar 90mm f/4 is photography’s slow food movement—a brass-knuckled rebuttal to megapixel gluttony. For the price of a weekend in Prague, you gain:

A masterclass in Leica’s optical heritage
Proof that “slow photography” beats spray-and-pray
Bragging rights over gear snobs (“Mine cost less than your filter!”)

Rating:
🎞️🎞️🎞️🎞️🎞️ (film poets) | 📱📱🤍🤍🤍 (zoombies)

“A lens that whispers: ‘Greatness often hides in quiet corners.’”

Pro Tips:

Focus Hack: Pre-set to 5m—zone focus like a 1950s press photographer.
Film Pairing: Ilford FP4+ @125—film noir gravitas on a budget.
Digital Love: On a Leica M11, add +10 grain—flaws become art.

Epilogue: The Poet’s Lens
In an age of f/1.2 monsters and computational hype, the Elmar 90mm f/4 stands like a bamboo grove—bending but unbroken. It whispers: “Photography isn’t about capturing light—it’s about catching your breath.” Now go shoot something slow.

The Leica M8 With Elmarit 21mm f/2.8 Pre-ASPH E60

The Leica M8’s Love Affair with the CCD Camera.

When you decide to give up the ccd camera, perhaps unexpectedly, the ccd camera will also quietly leave you. I, on the other hand, am deeply grateful to be able to use the Leica M8 with the Elmarit 21mm f2.8 E60 to take tons of wonderful ccd photos. I can’t wait to tell you that this lens is without a doubt the perfect partner for the Leica M8.

The excellence of the Leica m8.

I firmly believe that the Leica m8 is an exceptional camera. In these challenging times of full-frame ccd technology, Leica’s aps-h format for the m8 shows significant advantages over the aps-c format of common DSLRs. Admittedly, not being full-frame, the camera loses some of the lens’s field of view in use, but the APS-H’s 1.33 equivalent conversion makes a 21 mm lens equivalent to 28 mm and manages to capture the best image quality areas of a 21 mm lens. As a result, film shot with the Leica M8 has a very high degree of sharpness.

The lens is a wonderful match for the m8.

When this lens is combined with the m8, the results are extremely impressive. Not only are the colors vibrant, but the sharpness is excellent. I am in love with its colors, which in my opinion are even more captivating than the Leica Elmarit 21mm asph version .

How the lens performs on the M8 vs. M9.

Half of the time this lens was mounted and used on the m9, the other half of the time it was mounted on the m8. I was actually more impressed with the color performance on the M8. Although it’s hard for me to say exactly why, it always seemed to me that the m8’s ccd was able to show its color appeal more fully.

Street photography is like a solo trip, in this field some people recognize the 35mm lens, while others prefer the 28mm lens. I, on the other hand, don’t get hung up on which lens to use. I have always believed that photographers should be willing to experiment. In fact, this 21mm lens with the Leica M8 is my favorite combination. I love it even more than the 28mm lens on the m9, even though they have the same field of view.

Voigtlander Nokton Classic 35mm F1.4 II VM

Leica isn’t the only brand offering M-mount lenses. Some other companies have also launched lenses for the Leica M. In the days of film, some Japanese lens manufacturers would make their best lenses into Leica mounts. For instance, there’s the Konica Hexanon 28mm 2.8, the Konica Hexanon 50mm 2, the Konica Hexanon 28mm 2.8, the Konica Hexanon 50mm 2.4 limited edition, the Konica Hexanon 35mm 2 limited edition, the Konica Hexanon 60mm 1.2 limited edition, the Konica Hexanon 50mm 1.2 limited edition, the Konica Card Hexanon dual 21-35 3.4-4 dual focus head limited edition. Also, we have the Minolta M-RIKKOR 40mm 2, the Minolta M-RIKKOR 28 2.8, and the Minolta M-RIKKOR 90 2.8. There are also the Ricoh GR 28mm 2.8 L39 limited edition and the Ricoh GR 21mm 2.8 L39 limited edition. There are also Rollei Sonnar 40mm 2.8 L39 Limited Edition, Rollei Planar 80mm 2.8 L39 Limited Edition, Minolta G-Rokkor 28mm 3.5 Limited Edition, Pentax Pentax 43mm 1.9 L39 Limited Edition, and so on. Today, I want to talk about Voigtlander’s 35mm 1.4 lens.

The Voigtlander M-mount 28mm f2 lens I have used has distortion, and this 35 1.4 lens also has distortion, especially when compared with the original Leica 35mm lens. This kind of distortion will not always be noticed by you. It can only make you feel a little unnatural under certain circumstances. If you use Leica lenses for a long time, you will have a mental expectation of the photos you take. If the expectation of Leica lenses is 90 points, then if you switch to Voigtlander, I will adjust it to 60 points. Hey, this is the feeling, you can’t The standards for Leica require Voigtlander.

It’s not a Leica. The details in the dark areas aren’t as sharp, the grayscale isn’t as natural as the Leica, the highlights are easily uncontrollable, and the performance on a digital camera isn’t as good as on film. But the price of the Voigtlander vm35 1.4 is very attractive, and what’s even more attractive is its appearance. It looks exactly like the Leica summilux 35 1.4 first edition.

I’ve found that the multi-coated version of the Voigtländer vm35 1.4 mc doesn’t quite match the color quality of the Leica summilux 35mm and Zeiss zm 35mm 1.4. The color is a bit unnatural. The single-layer coated version of the Voigtländer vm35 1.4 sc is great for shooting black and white, and it’s really good for shooting black and white film.

I wouldn’t recommend that Leica M users start with the Voigtlander vm35 1.4 as their first lens. It doesn’t match up to any Leica 35mm lens, and you can’t appreciate the wide-angle advantage of Leica rangefinder cameras. On the other hand, if you already have a bunch of Leica 35mm lenses but like the way the Voigtlander VM 35mm f/1.4 Nokton Classic looks, then I think you can go for it.

Leica Summicron-C 40mm f2 / minolta m-rokkor 40 f2

This 40mm lens from Leica is one that gets overlooked a lot. I actually enjoy using it for photography. And its imaging is also in line with Leica’s color style.

This lens was designed by Leica for use with Leica CL film cameras and is designed to be portable. There are three versions in total, and the optics are basically the same. The 40mm viewfinder range is between 35mm and 50mm, which might seem a bit weird for some people.

The workmanship of this lens is average, whether it’s the Minolta version or the Leica version. It’s not as good as the Leica Summicron 35mm lens. The good news is that the price is pretty reasonable. People say this lens isn’t great in bright light. It’s not ideal to face the light directly in front of the lens.

The Minolta 40/2 Rokkor is basically the same as the Leica Summicron-C. You can use this lens just like you would use a Leica. In fact, it’s just as sharp in the center as the Leica Summicron 35, and the color is similar too. However, the sharpness of the image does decrease quite a bit at the corners of the maximum aperture. I’m not too concerned about the slight blurring at the corners. The blurring creates a special hazy atmosphere. However, it’s best to avoid leaves and branches when choosing a background, as the blur will look messy and unflattering.

The Leica CL is a unique addition to Leica history. Designed by Leica and produced in Osaka, Japan. It comes with two lenses: a 40mm and a 90mm, both of which are true to the Leica style. Unfortunately, the CL was only produced for three years before it was discontinued.

Normally, the Leica CL is also seen as part of the Leica M camera family. To keep the weight down, this 40/2 lens has a simplified thread pitch design, so the focusing accuracy isn’t as good as a normal M lens. But for a Leica lens with an f2 aperture, it’s definitely worth it.

LEICA SUMMAR 50mm f/2

This lens was designed by Berek, the first designer of Leica, back in 1933. At the time, it was mainly designed to go up against Zeiss’ Sonnar lens. Leica Summar 50/f2 is produced in quite a lot. Because they’re so old, these lenses almost all need some maintenance. The good news is that it’s a great deal.

The glass on Summar’s camera is pretty soft, so it’s prone to scratches, which will reduce contrast. The matte paint inside the lens is also peeling off, which will also reduce contrast, so it’s probably best to use Summary for black and white photos. If you don’t have this mindset, it’s probably best to avoid using Summary.

When the Leica Summar50 is set to f2, it produces a blurry light at the edge of the highlight ratio, but some people like this feature. They say it’s a hazy, romantic look. This kind of light diffusion and infiltration effect can’t be achieved with software. The Summar disperses intense light throughout the entire image without overexposing any area, giving it a warm, charming tone.

The summar have a surprisingly high center sharpness, but it’s not the kind of sharpness you’d expect in a modern lens. The details are very rich and delicate. This lens is great for capturing elegant and romantic portraits. It creates a soft, atmospheric effect, which means you’re not just capturing an image, but an emotion.

The double Gaussian structure of Summar 50 uses six pieces of glass, while the Tiansai structure of Elmar 50mm 3.5 uses four pieces of glass. Adding more glass will reduce contrast and make it easier to glare. The double Gaussian lens requires more coating than the Tiansai lens. It’s still too early for the Summar lens to be coated, so the contrast is smaller than with the Tiansai lens.

The 1933 non-retractable Rigid version was produced in fewer than 2,000 pieces. Agfa also made a custom version (the aperture ring is notched), a folding version, a nickel version, a chrome version, a black version (the front ring is black), and different versions in meters and feet.

The Summar50 f2 is a pretty unique lens. The in-focus shots have a warm quality, while the out-of-focus shots have a romantic feel. If you don’t mind the quality, try it on the digital Leica M11 and you won’t be disappointed.

LEICA NOCTILUX-M 50 f/1.2 ASPH

The 50mm lens is great for telling a story and making people stand out from the environment. The Leica Noctilux 50 1.2 is great for separating people from their surroundings, but it’s best for full-body portraits. This lens isn’t ideal for half-length portraits. The lack of clarity makes it difficult to distinguish between the half-length portrait and the environment. It’s not as good as the Summicron 50 f/2 V4 and the Summilux 50 1.4 pre-asph. I think shooting full-body portraits is the best way to use the Noctilux 50 1.2.

I was a bit underwhelmed by the Leica Noctilux 1.2 replica at first. When I set the aperture to 1.2, it wasn’t as good as the Noctilux 50 0.95. But later on, I found that when shooting full-body portraits with the Noctilux 50 1.2 Asph, a vortex of clarity and blur was formed in the center of the picture. It really brings out the sharpness in the focus, and it creates a kind of quiet, mysterious blur in the background when you’re not focusing. This is a style that no other Leica lens has. I set the lens at a distance of 4 meters and the aperture at 1.2. I can even use it to estimate the focus and take blind shots. I can get pretty clear full-body portraits and get that dreamy bokeh, which is pretty cool. “You say life is like a dream, and I say life is like honey.” What’s the difference? Not all of them are hazy. You’re there in the haze, and you and me are enough. Just love what you love. All the flowers are for you. Open, all the scenery is arranged for you.

I’ve been taking photos for a few years now and I’ve picked up a few tricks along the way. It’s important to remember that beginners shouldn’t be looked down upon. It’s easier to see the Buddha nature with a beginner’s mind. That’s why so many people go for the original Leica lenses. Even if Leica makes a copy of this Noctilux, it won’t make collectors any less interested in the original Noctilux because the original idea is priceless.

LEICA NOCTILUX-M 50 f/1.2 ASPH + LEICA M9

Pages: 12

leica summicron-m 35mm f2 v1 8-element

I’d heard about this lens before I even owned a Leica camera. I’d heard from older colleagues how great the first-generation Summicron 35mm lens is. It wasn’t until I got my own Leica camera and put it on this legendary lens that I could confirm what my colleagues had said. It’s really excellent.

I often use this lens with black and white film, and it has consistently delivered excellent results. It has high definition, overly natural grayscale, rich shadow sculpting, and the colors are pretty good, too. This lens is pretty solid, whether you’re using it with a digital camera or a film camera.

LEICA 0 Series Oskar Barnack Limited Edition camera w/Anastigmat 50/3.5 lens

Slow

If you’re looking for a truly unique photography experience, the Leica 0 series camera is the one for you! It’s the perfect blend of classic Leica style and cutting-edge technology. Capture stunning images with the “slow” and “portable” philosophy at the heart of every Leica camera. It may be a bit slow, but I sell this camera quickly.

My story

I found the Leica 50mm/0.95 around my neck to be too heavy, and it caused my neck to hurt for days. So I missed out on the smaller Leica, the 0 series replica is compact, even smaller than today’s smartphones, but it still has a solid case and pure Leica lenses, so I bought one to free my neck.

This is a replica of the Series 0. The original Model 0 sold for $2.16 million at auction, making it the most expensive camera in the world at the time. This special edition Leica camera has a gorgeous black lacquer finish and brass top. I had planned to use this camera for a while and then let the black paint wear off naturally.

Before I started using it for photos, I really liked the design. If you could carry it around with you, this camera could last a lifetime. The reality is that it’s really difficult to use, so you have to cover the lens every time you switch to the next negative.

Of course, it’s not the camera, it’s me! This limited-edition camera is meant to be a collector’s item, not a tool for street photographers like me.

Slow Philosophy

The concept of “slow” is relative and depends on the context. Back when the Leica 0 was first introduced, it was seen as a fast photography tool. Just like computers, you can’t really compare CPU speeds from 20 years ago to today’s standards.

Just a few more things to keep in mind when taking pictures with this camera. For instance, you’ve got to put the lens cap back on before you can switch to the next picture. Also, you’ve got to hold down the shutter while rewinding the film.

Just a heads-up: Once you’ve finished winding, the shutter speed is fixed, so it’s important to set it first.

How to use

To get the most out of this vintage camera, it’s important to develop good operating habits, like:

When you’re ready to stow the camera away in your bag, leave the shutter on release so you can adjust the shutter speed for your next shooting need.
Trim the spare film in advance before using it.
When installing a new roll of film, ensure that the protrusion on the film aligns with the notch on the spindle to ensure proper installation. Instead of using the spindle to locate the notch, you can use the notch to locate the protrusion on the spindle.
Always remember to open the lens cover before taking a photo, and cover it after winding the film. This simple mantra is worth remembering.
It may take some practice and skill to use a 0-type camera effectively, but the stunning results make it all worthwhile.

The Leica 0-series camera used the Anastigmat 50 3.5 lens, which was originally designed by Berek in 1920. Despite what some people said, the lens only had four elements in three groups, which is similar to the Elmar lens. The new version of this lens has four elements in three groups, but it’s got a new design and coated glass. It’s said to offer better contrast and sharpness when used at full aperture, and it’s pretty similar to the Summicron 50 f2.

The lens is really excellent. However, I really think that this camera is not suitable for use, only for collection.