Black and white film Archives

Leica Elmar 50mm f/3.5 (5cm/3.5)

The Birth of the Standard Lens

The original Leica, created in 1914, was the first camera to use film in the 24 x 36mm format. At least three UR Leicas were built by Barnack, who also tried out different lenses, including the retractable Mikro-Summar 42mm f/4.5.

A standard lens is one whose focal length is about the same as the diagonal of the film. For a standard 24 x 36mm format camera, this is about 43mm. In reality, the actual focal length designed by Ernst Leitz for the Ur-Leica seems to be closer to 43mm.

Max Berek came up with the Elmax 50mm f/3.5 lens for the Ur-Leica, which stands for “Ernst Leitz and MAX (Berek).” The 42mm lens was replaced by the Elmax 50mm f/3.5, which offered better optics, in the production Leica I.

Since then, the 50mm lens has become the standard lens, but some companies do offer lenses that are closer to a 43mm focal length, like the Pentax 43mm f/1.9 and the Contax 45mm f/2.

Safe and Comfortable

I’ve always had a soft spot for the compact and collapsible 50mm Elmar f/3.5. I tend to be a bit reserved when it comes to using larger lenses for street photography, but the Elmar’s small size makes me feel at ease. When shooting in well-lit conditions, I typically set the aperture to f/5.6 – f/8, and with an ISO 400 film loaded, I’m ready to go for some serious street photography. Overall, the Elmar’s convenience and reliable performance make it a great choice for my photographic adventures.

Tessar-Type

This Tessar-type lens was considered one of the best of its time, with four elements in four groups. However, it does lose some sharpness in the outer zones when used wide open. However, I’ve found that the Elmar f/3.5 is sharper than the Summar and Summitar when stopped down, even by just a stop or two. The Elmar f/3.5 also has better contrast than uncoated lenses, which tend to have lower contrast and flares. This makes it ideal for black and white photography. The smallest aperture for my collection of f/3.5 Elmars is f/18, except for the last series, which has f/22 and the red scale.

On Digital Ms

You can use the lens with digital Leica M cameras if you get an L39-M adapter. Just a heads-up: collapsible lenses might contribute to sensor dust. I’ve noticed this more often with f/3.5 Elmars. From my experience, the Leica M9 sensor seems to collect more dust than my DSLRs with built-in automatic sensor cleaning.

One possible reason for this is that collapsing or uncollapsing the lens may create a pumping effect that introduces air and dust into the camera mount. To avoid this issue, it’s best not to collapse the lens while it’s attached to the digital M camera.

Personally, I prefer to use non-collapsible lenses on digital M cameras to minimize the risk of sensor dust. If you are concerned about sensor dust, you might want to consider shooting film instead.

Leica 5cm 3.5 Elmar with black & white film

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 Summicron 50mm F2 V4

The Art of Balance

Leica has so many wonderful choices at 50mm! You can go with the compact Elmar, the large-aperture Summilux, the super large-aperture Noctilux,and finally the balanced Summicron. I’m really starting to like this V4 lens, and Leica has positioned the Summicron to actually be balanced, which I think is great! I know the Noctilux and Summilux have f2 apertures too, but they’re not quite the same as the Summicron.

The Leica Summilux and Noctilux lenses are more expensive and bulkier—it’s a simple fact. A wise photographer knows how to find the perfect balance between size, weight, and cost. I believe the wisdom of life is also about finding balance.

The focal length of 50mm represents balance in photography—it’s as simple as that. This lens is undoubtedly the most balanced Leica lens. Leica really knows what they’re doing. They’ve been making this lens for over 40 years, and they’ve got a great understanding of balance.

Classic and Popular

Dr. Walter Mandler, the wonderful Leica lens designer and CEO of Ernst Leitz Canada, found the secret to making a high-quality 50mm lens a long time ago. Thanks to him, even the most affordable 50mm prime lens offers optical performance that surpasses many other brands.

Leica 50mm Summicron lenses are a fantastic choice if you’re looking for excellent value for money! I’d especially recommend the fourth generation and the current version. The fourth generation has a focus ring, while the current version has a lens hood. Both are really handy Leica lenses! The current version has the same great optics as before, and it’s the only remaining vintage Leica lens still in production. I’d love to know your thoughts on whether it really is a classic! Classic and popular—and we love it!

Street Photography

I just had to tell you about this great lens I’ve found! It’s the Leica Summicron 50mm f/2 V4, and it’s a fantastic addition to any camera collection. This lens is absolutely perfect for street photography! You can focus through the viewfinder or judge distance for a blind shot. The f/2 aperture handles a wide range of lighting conditions, so you’re always ready for anything. The 50 mm focal length is great for capturing people and environments, and it also highlights people really well. I was even able to lock the focus ring at about 1.7 meters to capture people’s expressions up close – it was perfect!

Focus Fandle

This lens has an amazing optical design that’s been perfected to the highest standard of double Gauss. It’s been around since 1980, and it’s still going strong! This lens has been around for a long time, and it’s seen a few changes over the years. There’s the crescent wrench version, the tiger claw version, and the version with a built-in lens hood.
The lovely crescent version has a focus handle that looks just like a crescent!
The tiger claw version has a focus handle that looks just like a claw!

V4 = V5

The 50mm Summicron lens is available in a number of versions, including the V1 Collapsible Summicron, V2 Rigid Lens, V3 (which is slightly taller with a silver mount), V4 (in which the finger ring is bent outward), and V4 (in which the finger ring is bent inward). The latest iteration is designated the V5 and has been available since 1994. Given that the optical characteristics of the V4 and V5 are identical, it is reasonable to conclude that there will be no discernible difference in image quality.

This 50mm Summicron stands out due to both its compact and well-proven optical design, as well as its legendary focal length which can provide natural perspectives.
 Production period: 1979-current
 Code: 11819(black), 11825 (chrome   11826(black), 11816(chrome),
 11624(titanium), from 1994 with
 built-in extensible lenshood
 11619 V-Summicron, screw mount Serial # 2,909. 101- current
 Total production: n/a
 Maximum aperture: 1: 2.0
 Focal length(nominal): 50mm
 Angle:45
 Minimum distance: 7Ocm
 Weight: 195 grams(black), with built-in lens
 hood: 240 grams black, 335 grams
 chrome, 335 grams titanium
 Filter: E39

Leica Summilux50mm 1.4 v1 e43

Classic Leica

The Leica Summilux 50mm 1.4 v1 e43 is a classic lens with an optical design that’s an upgrade from the Summarit 5cm f/1.5. At f/1.4, the image quality is already pretty good. I’ve heard people say this lens isn’t sharp enough at f/1.4, but I don’t agree. The f/1.4 aperture is often used in dark indoor situations, but I’ve found that I can get very clear photos when using it with the Leica M3. I think those who say this lens isn’t sharp enough may have encountered a lens in poor condition. After all, this lens was produced in 1958.

Affordable choice

The price of the v1 is lower than that of the later 50 1.4 v2 E43. The main reason is that the quality just isn’t that great. It’s also worth noting that the optical design of v2 has been further improved. In terms of the way it looks through the lens, the v1 is more like a mix of the v2 and the Summarit 50 1.5. From what I can see in the optical design diagram, it looks like it’s more like the 50 1.5 design.

Bokeh

The bokeh effect is a favorite among photographers looking to create unique and creative images. The out-of-focus edge spot of this lens will appear oval. It’s not as nice as the v2 version and looks a little messy. But in street photography and everyday photography, bokeh is still great for highlighting people in this kind of blur. The bokeh isn’t the v1’s strong point, but it’s not a dealbreaker.

In bright daylight, using wide apertures can cause overexposure. However, you can use ND filters to help you achieve your goal of reducing exposure. Sometimes I attach an ND filter to this lens and shoot at f/1.4 on the streets.

Production period: 1962-2004   Code: 11114(black) bayonet, 11868   (black anodised), 11856(silver chrome),   11869(titanium) from 1995,   1 1621 V-Summilux, screw mount
Serial#:1,844,001-n/a
Total production: na   
Maximum aperture: 1: 1. 4   
Focal length(nominal): 50mm
Angle: 45   
Minimum distance: 100cm. later 70cm   
Weight: 360-275/380 grams
Filter: E43. later E46

Summilux (I) f= 5 cm 1:1.4

50mm f/1.4 Summilux-M II

50mm f/1.4 Summilux-M III e46

Leica 5cm f/1.5 Summarit

Large aperture lens

This was Leica’s first big step into the world of large aperture lenses with the Summarit 5cm f/1.5, which hit the market in 1939. At the time, it was tough to design a lens with a large aperture. This lens’s predecessor was designed and produced by Schneider. Later on, Leica used it to go up against Zeiss’ large aperture lenses. This lens is the foundation of Leica’s large aperture lens lineup. Leica’s later Summilux 50 1.4 v1 was based on this lens.

Bokeh

If the background isn’t too complex, the bokeh effect produced by the Leica 5cm f/1.5 Summarit softens the subject and can create a dreamy, ethereal effect. If you’re shooting people up close, like within two meters, you can reduce shadows and imperfections on their faces. To be clear, this lens isn’t sharp at f/1.5, and there seems to be a thin layer of gauze covering the front of the lens.

If you’re working with a complex background, like branches or leaves, the bokeh will look messy. The bokeh can be a bit intrusive and distracting. This can be a real turn-off for many people. One way to avoid this issue is to avoid shooting in areas with trees and lights in the background.

Affordable

Its price is pretty reasonable, about the same as the Elmar 50 3.5, but it’s a large-aperture lens with f/1.5. And it’s a Leica lens.

leica 5cm f/1.5 summarit + leica m3 + Black and white film

Leica has a reputation for high quality, and if you want a fast lens for a 35-millimeter film camera, this SUMMARIT model would be a great addition to your gear.Leica SUMMARIT 50-millimeter lenses were made in the 1940s and 1950s.
 Pre   oduction period: 1949-1960   Code: SOOIA(screw mount)   SOOlA-M(bayonet)   Serial#:740,001-1,537,000 Total production: ca. 65.000
 Maximum aperture: 1: 1.5
 Focal length(nominal): 50mm Angle: 450
 Minimum distance: 100cm
 Weight: 320 grams
 Filter: E41 or slip on 43mm

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LEICA 28MM ELMARIT-M F/2.8 V1 9-ELEMENTS

28mm Super-Angulon?

If you like the Leica Super-Angulon 21/3.4, you might also like the Leica Elmarit 28/2.8 v1, as they have similar color performance. It’s possible that the designers of the Elmarit 28 v1 were inspired by the Schneider Super-Angulon, despite their different focal lengths.

28mm for Street Photography

A 28mm lens is great for street photography because you can capture a lot of environmental details. This focal length is perfect for travel records and life captures, which is why the iPhone has had a 28mm lens for many years. The main issue with 28mm is distortion control. If it’s distorted, it’ll look unappealing. However, the Leica Elmarit 28/2.8 V1 has perfectly controlled distortion, making it the best 28mm lens I’ve ever used, even better than later versions. The advantage of nearly zero distortion is that you can capture photos as you like, even at close range, without any strange feeling.

28mm lens that brings out the 35mm frame line

The first camera with a 28mm frame line was the Leica M4-P, which came out in 1980. They didn’t meet in 1972. It’ll bring out the 35mm frame line on the Leica M2, M4, M6, M7, MP, and M9. This is a 28mm lens that brings out the 35mm frame line. Just a quick reminder: Normally, I use the edge of the viewfinder as the 28mm frame line, and it works pretty well.

Avoid m5 and cl

Just a heads-up: The rear lens group is much longer than an ordinary lens and will be inserted into the camera body, which might affect the metering module of the Leica M5 or CL.

Just a heads-up: Leica product number 11801 with a serial number lower than 2314921 can’t be used on M5 and CL models. It’ll damage the metering arm. You can also use this lens with all other Leica M cameras, including digital M cameras.

Leica Summicron 50mm f/2 Radioactive

Collapsible Lens

The Summitar 50 f/2 is the predecessor of the Summicron 50mm f/2. This lens uses new glass and a new design, which brings its optical level up to a higher level than its predecessor. At the same time, it also has the same compact structure and light weight as its predecessor lens. But what really sets this lens apart is that its glass is radioactive.

Radioactive Yellow Glass

The main source of radioactivity in lenses is the use of thorium oxide as the glass component in the lens elements. Thorium oxide glass provides a high refractive index and low dispersion, which helps lens designers minimize chromatic aberration and reduce curvature. However, the presence of thorium in the glass can cause the lens elements to yellow over time.

Is Radiation?

If you use these lenses correctly, there’s no risk to your health from the thorium in the Leica Summicron 5cm lenses. I’ve got five of these lenses and I’ve measured their radiation levels one by one. The radiation levels are higher in the early stages than they are in the later stages. However, prolonged exposure to this radiation can damage the eyes and cause cataracts and other vision problems. The main source of radiation is within ten centimeters directly in front of the lens. The radiation value behind the lens is pretty much nothing.

Radioactive yellow glass serial number:
NR 920×××
NR 921×××
NR 922×××
NR 993×××
NR 994×××
NR 995×××
No. 1009×××
Nr102××××
No. 104××××

Clarity

When you stop the lens down to f/2, it delivers excellent subject separation, background blur, and low-light performance without sacrificing too much sharpness. However, if you stop the aperture down to f/4, it’s really sharp and captures all the detail you could ask for. It’s a lot better than the Summitar.

Leica Summicron 50mm f/2 Radioactive — leica summicron 50mm(5cm) f/2 radioactive yellow glass screw mount ltm l39

leica summicron 50mm(5cm) f/2 radioactive yellow glass screw mount ltm l39

LEICA 21mm f/3.4 LEITZ SUPER-ANGULON REVIEW

Schneider developed the Leica Super-Angulon 21mm, which Leitz later brought to market. It can focus very close (0.4m) and produces a bokeh. This lens is sharp and produces beautiful images.

Not suitable for landscapes

In general, 21mm lenses can shoot a wide range of subjects and require a 21mm lenses can shoot many subjects, but you need to know what you’re doing. Otherwise, the pictures will be messy.
This 21mm lens isn’t good for architecture or landscapes. It’s great for close-ups and portraits. This lens makes people look taller and more impressive. It also makes them look three-dimensional.

Jean-loup Sieff used this lens for portraits.

Digital Leica compatibility

This lens is compatible with Leica M digital cameras, but there might be some issues with color shift around edges and corners. It’s also prone to flare on digital cameras and may overexpose on the Leica M8 and M9. Despite these issues, this lens still produces great photos, especially when converting color photos to black and white.

F4.0 vs F3.4

The f/3.4 Super-Angulon lens has better optical quality than the f/4.0 version.

Voigtlander 21mm

The Voigtländer 21mm lens is a more affordable option than the Leica Super-Angulon. Some Voigtländer users might eventually be drawn to the classic design and nostalgic appeal of the Super-Angulon lens.

Filter: 48mm UV, VII.
Hood: 12501
Front cover: 14102
Rear cover: 14042
Stock: less than 6000.
Focus lever: metal crescent focus lever.
Minimum focusing distance: 0.4m

Leica 35mm f/1.4 Summilux II Pre-asph

Glow

The lens has a slightly soft focus, suffers from chromatic aberration, and vignettes at its maximum aperture of f/1.4. When shot wide open, it produces a soft, dreamy glow with shallow depth of field, and swirly bokeh, which is why it is nicknamed the ‘Leica glow.’ This type of soft and dreamy bokeh is either loved or hated by people.

Although I have many sharp lenses in my collection, I appreciate the beauty of photography beyond just technical perfection. The special dreamy glow effect cannot be reproduced with software; it can only be achieved in-camera. This lens is excellent for street portraits due to its glowing effect and becomes very sharp when stepping down the aperture, like every other Leica lens.

The three ‘Leica glow’ lenses I have used do not easily achieve the ‘Leica glow’, especially in film photography and low-light environments. The bokeh lacks the smooth and buttery total background obliteration of the Leica Summilux 35mm f/1.4 ASPH and the progressive blur bokeh of the Summicron 35mm f/2 v4 (7-elements), although it is closer to the latter.

It is important to note that this is not a flawless lens. Although the ‘Leica glow’ allows for shooting at f/1.4, it should not be used at this aperture all the time. If you desire a sharp f/1.4 lens, this old lens should not be your choice; instead, you should opt for either the Summilux 11874 or the Summilux 11663. For a legacy lens with both bokeh and sharpness, the Leica Summicron 35mm f/2 v4 is a better option. It is known as the ‘king of bokeh’ and provides both bokeh and sharpness, but it does not produce the ‘Leica glow’.

Not every photo looks good at f/1.4. The ‘Leica glow’ can be reduced by stopping down, resulting in excellent image quality. I observed that the ‘Leica glow’ is nearly on par with the ‘king of bokeh’ (Summicron 35mm f/2 v4)in terms of resolution, colors, and vignetting at every aperture from f/2.8 to f/8.

Balance

Considering the optical superiority of the Summilux 35mm ASPH lenses over this older lens, one may wonder why anyone would still want to use it. However, its current popularity is undoubtedly due to its affordability, rather than its ‘soft glow’.

However, I was seeking swirly bokeh and a dreamy glow when shooting wide open, which is exactly what this lens delivered. Smaller apertures can significantly reduce the softness and vignetting. The lens is well-balanced on a Leica M and its compact size and lightweight design make it a great choice.

 Production period: 1961-1995
 Code: 11869(black), 11870(black
 11871 (with M3 attachment), 1 1860(titanium)   Serial#:1,730,001-n/a
 Total production: n/a
 Maximum aperture: 1: 1.4
 Focal length(nominal): 35mm
 Angle: 640
 Minimum distance: 100cm(M3)65cm(other   Weight: 245 grams, later 195 grams,
 Filter: E41. later VII

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