Leica Summicron 50mm f/2 Collapsible “Radioactive Yellow Glass” Review: The Alchemist’s Elixir

Prologue: When Radiation Meets Poetry

Imagine if Van Gogh’s Starry Night were forged into glass—glowing with eerie beauty, unapologetically imperfect. The 1956–1968 Leica Summicron 50mm f/2 Collapsible “Yellow Glass” (aka Radioactive Cron) is photography’s answer to a vintage whiskey: aged, complex, and slightly dangerous. Priced at 1,500–1,500–12,000 (2025 USD), this 200g brass-and-thorium relic defies modern logic. Born in an era when engineers played God with radioactive elements, it’s the James Dean of lenses—rebellious, iconic, and forever young.


Design: The Mad Scientist’s Blueprint

  1. Toxic Cocktail
    • Glass Recipe: 3 lanthanum layers + 1 thorium core + 1 lead-infused rear element—a periodic table party banned by 1980s environmentalists.
    • Collapsible Sorcery: Folds like a pocketknife, weighs less than a paperback.
  2. The “Yellowing” Phenomenon
    • Thorium decay tints the glass like aged Scotch, casting a golden haze. Fear not:
      • Digital: Auto white balance neutralizes it—no Instagram filter needed.
      • Film: Kodak Ektachrome laughs at the tint; Fuji Pro 400H embraces it as “vintage warmth.”

Optical Alchemy: HCB’s Secret Weapon

AspectYellow Glass SummicronModern APO-Summicron
SharpnessHemingway’s prose—direct but soulfulChatGPT precision
ContrastMorning fog over the SeineHigh noon in Death Valley
BokehMonet’s brushstrokesCAD-rendered circles
Radiation Charm☢️☢️☢️☢️☢️🤖
  • Low-Light Wizardry: Thorium glass absorbs UV/IR, rendering twilight scenes like Rembrandt’s chiaroscuro. Henri Cartier-Bresson’s shadowy Parisian alleys? Thank radioactive decay.
  • Skin Tones: Renders complexions like honey-drizzled marble—flaws softened, humanity amplified.

Myth-Busting: Radiation & Risks

  1. Health Fears:
    • Fact: The dose is weaker than a transatlantic flight. Sleeping with it under your pillow for 50 years ≈ 1 dental X-ray.
    • HCB Proof: The man shot with it into his 90s. (Though he probably swapped lenses more than socks.)
  2. Film Damage:
    • Leaded rear glass blocks 99% of radiation. Leave a roll in your M3 for a year? You’ll get slightly vintage fog—call it “free VSCO preset.”

Shooting Experience: Time Travel in Your Palm

  1. Digital Love Affair
    • On a Leica M11, it’s Ansel Adams meets Wes Anderson—sharp yet nostalgic. Disable profiles; let its golden flaws dance.
  2. Film Romance
    • Tri-X @1600 + this lens = film noir reborn. The thorium glow caresses grain like a jazz saxophonist.
  3. The “Three Miracles”
    • f/2: A dream sequence—soft focus becomes artistic intent.
    • f/4: Suddenly sharper than a New Yorker’s wit.
    • f/8: Reveals CCD-like microcontrast (Leica M8 owners, rejoice).

Who Needs This Lens?

Poets with Light Meters: Who see grain as texture, not noise
Vintage Alchemists: Collecting radiation like rare spices
Contrarians: Who’d choose a vinyl crackle over Spotify HD

Avoid If: You shoot weddings, fear EPA audits, or think “AI bokeh” is progress.


Final Verdict: The Forbidden Fruit

The Radioactive Summicron is photography’s yin-yang—harmony in opposing forces. For the price of a Rolex Submariner, you gain:

  • A ticket to 1950s optical rebellion
  • Proof that “dangerous” often means “unforgettable”
  • Bragging rights at camera clubs (“Mine glows in the dark!”)

Rating:
🎞️🎞️🎞️🎞️🎞️ (film romantics) | 📱🎞️🎞️🤍🤍 (digital pragmatists)

“A lens that whispers: ‘True magic lies in the flaws we dare to preserve.’”


Pro Tips:

  • UV Test: Shine a blacklight—watch the thorium glow like Tron’s legacy.
  • Clean Carefully: Use a lead-lined cloth (kidding… mostly).
  • Chinese Proverb Footnote:“毒草亦能开花”
    (“Even poison weeds can bloom”—celebrating beauty in the forbidden*)

Epilogue: The Last Alchemist
In a world obsessed with clinical perfection, the Yellow Glass Summicron stands as a brass-clad rebel. It whispers: “Your camera isn’t a machine—it’s a wand.” Handle it with respect, shoot with abandon, and let its golden glow remind you: the greatest risks often yield the richest rewards. As Bresson might say, “There are no bad lenses… only boring photographers.” Now go make some beautiful trouble.

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

Kentmere Pan 400 Black and White Film

Kentmere 400

ISO 400 black and white film is a popular choice for capturing human subjects due to its high tolerance and larger grains. Kodak Tri-X 400 has gained a devoted following for its ability to handle push processing, allowing it to be used at ISO 800 or even pushed to ISO 3200. However, Kentmere 400, the film we are discussing today, is best used at its rated ISO 400 and should not be pushed beyond that. Its pricing reflects this recommendation.

Regarding Kentmere’s contrast, the film’s manufacturer remains a mystery, with some speculating it could be Ilford due to their shared UK base. Nonetheless, Ilford’s PAN 400 is considered to be of superior quality compared to Kentmere. Kentmere struggles with low-light situations and tends to produce deep blacks, leading to an overall high contrast look that can make images appear harsh, particularly when shooting with high contrast lenses or in high contrast scenes. Personally, I find it best to avoid using Kentmere in bright noon sunlight.

On the other hand, Kentmere 400 performs exceptionally well for indoor and subway portraits, creating a clean, bright look reminiscent of its white packaging. It appears to have a built-in half-stop yellow filter effect and also handles foggy weather with ease.

Continue reading Kentmere Pan 400 Black and White Film