Review: Leica 50mm Summilux II Pre-ASPH Reissue
Just when you think you have all the 50mm Leica lenses you need, here comes another one…
Leica M11-D with Summilux 50mm f1.4 Pre ASPH
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.
Leica has now reintroduced the Leica 50mm Summilux-M f/1.4 II once again as a Heritage lens, and at a fair price. In this article Milan Swolfs takes the new reissue for a test.
My personal choice: 50mm
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. It may also align with how most people consume images today through book pages, smartphones, and social media.
Of course, I own multiple Leica 50mm lenses and often bring two different 50mm lenses to a shoot. For color work, I might use a 50mm Summilux ASPH or the Noctilux f/0.95, while for monochrome photography, I lean towards a classic Noctilux f/1.0 or a slower Summicron f/2.0 “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.
The Leica Heritage Lenses
Apart from the technical aspects, I have a deep appreciation for vintage lenses—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 (2016), followed by the 90mm Thambar f/2.2 (2017), the Noctilux 50mm f/1.2 (2021), and more recently, the 35mm Steel Rim Summilux f/1.4 (2022). Having had the privilege of using the original versions as well as the modern reissues, I always enjoy comparing their characteristics.
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 ($1,800 – $4,500).
The current Leica 50mm lineup
50mm Summilux-M ASPH f/1.4 Closer Focus (2023)
50mm Noctilux-M ASPH f/0.95 (2008)
50mm Noctilux-M ASPH f/1.2 Heritage (2021)
50mm APO-Summicron ASPH f/2.0 (2012)
50mm Summicron f/2.0 (1984, Model 11826)
Where does the reintroduced 50mm f/1.4 Pre-ASPH fit in? To me, it’s closer in character to the 50mm Noctilux-M f/1.2 than to the 50mm Summilux-M ASPH.
But before diving deeper into the reissue, let’s take a step back and explore the history of the 50mm Summilux lenses:
The history of the 50mm Summilux Pre-ASPH
One of the most fascinating aspects of the 50mm Summilux lenses is how little its design has changed across different versions. Throughout history, the Summilux 50mm has consistently been regarded as a strong performer. The current production model, the 50mm Summilux-M ASPH f/1.4 Version 5 (2023), 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 I (1959 - 1961) Model SOOME
Leica introduced the 50mm Summilux Pre-ASPH (1959) as its fastest 50mm lens at the time. It was made for both screw-mount and M-mount cameras. The lens was an evolution of the 50mm Summarit f/1.5 (1949-1960, model SOOIA screw mount lens), now featuring a brighter f/1.4 aperture for improved low-light performance and better depth of field control. From 1957 to 1959, some of the first 50mm Summilux-M f/1.4 were engraved as 50mm Summarit-M f/1.4.
With one of the shortest production runs of any Leica M lens, the Summilux Version I was primarily produced in silver chrome on brass (325 g). A small number of black paint versions were made on request, making them highly collectible. These black paint variants came in different finishes—some fully painted, while others had a mix of aluminum and brass components. The most sought-after black paint models featured a full brass mount.
One distinctive feature of the Summilux Version I is its rare E43mm filter thread. The original Leica E43 UV filtersare 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 Summilux Version I was similar to the 50mm Summarit f/1.5, but it introduced Lanthanum 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.
(Lanthanum glass generally reduces reflections, minimizes color fringing, and increases contrast and clarity.)
The reverse scallop
The reverse scallop focus ring is a distinctive design feature where the grooved parts of the focus ring curve inwardinstead of outward. It is found on certain versions of the Leica 50mm Summilux Pre-ASPH, particularly early Version II models.
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 and collectors, often adding $2,000 or more to the price of the lens. If you're considering one, it’s worth handling it in person to see if the grip suits your preference.
Version II (Pre-ASPH, 1961–1992) Model 11 114
At first glance, the Version I and Version II Summilux in chrome on brass look fairly identical. However, the most significant upgrade in the V2 is a new optical design, developed by Leica Midland in Canada, which offers noticeable improvements over the first version. Mainly, contrast improved, which was the Midland design philosophy, whereas Wetzlar focused on definition and color correction. Interestingly, Leica did not officially acknowledge this optical redesign until 1966—something that would surely drive today’s Leica enthusiasts crazy.
Compared to contemporary designs like the Planar 1.4/55mm or the Nikon 1.4/50mm, the Summilux easily wins in contrast at maximum aperture, and this alone established its reputation as the finest high-speed lens for full-frame photography—remaining in production for 31 years!
A black version (Model 11 113) was offered in 1962 as a special order. Very few exist.
Some users claim that the V2 introduces more distortion compared to the V1, but after testing both extensively, I haven’t observed this for myself.
The V2 also retains 10 diaphragm blades, ensuring a similar out-of-focus rendering to its predecessor.
Key features:
- Improved optical design
- Same barrel design as Version I until 1965
- Minimum focus distance: 1 meter
- Filter size: 43mm
- Lens shade: Original 12521G or E43 ventilated shade
- Aluminum barrel for black anodized versions after 1968.
Image quality and rendering: Version I vs. Version II
At f/1.4, both Version I and Version II 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 lookthat 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 and practical considerations
Both versions utilize a bayonet-style hood (model 12521G), 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 III (Pre-ASPH, 1992 – 2004) Model 11 856 (Silver) / 11 868 (Black)
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. Additionally, the lens barrel design changed and now includes a built-in lens hood.
Key features:
- Minimum focus distance: 0.7 meters
- Filter size: 46mm
- Lens hood: Built-in sliding hood.
Image quality and 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 and practical considerations
The built-in sliding hood makes this version more compact and practical, though some argue that it’s not very effective. The 46mm filter size makes it more compatible with other modern Leica lenses.
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 ASPH, 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, though 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/1.0 or the 50mm Summicron f/2.0 "Rigid", while for color work, I prefer the 50mm Noctilux f/1.2 ASPH. Each 50mm lens has its own distinctive rendering, making lens selection a crucial part of my creative process.
So, why choose the new 50mm Summilux Pre-ASPH II reissue over other Leica 50mm lenses?
During discussions with Murat Akkus, the Product Manager for M lenses, and Christoph Müller, 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 lenswithout jumping into the Noctilux series.
Initially, when Leica briefed me about this lens, I wasn’t overly excited—I often gravitate toward more obscure lenseslike the 73mm Hektor or the 66mm ELCAN, or rare collector’s pieces like the 35mm Summilux Double ASPH.
The difference between this and the original
After testing the 50mm Summilux Pre-ASPH II Reissue, 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—making it suitable for a wide range of photographic applications.
The Pre-ASPH excels in bokeh and handling
One of the highlights of this lens is obviously its bokeh. The rendering is creamy and smooth, yet it remains non-distracting and well-controlled. During my field testing, 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 has a softer, more organic look, particularly on skin tones.
Compared to the 50mm Summilux-M 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 this 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. Every image in this review was shot with the Leica M11-D, proving that the Summilux Pre-ASPH holds up beautifully even on a 60MP sensor. 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 details and rendering clearly held up, even in large-format prints.
Like the V1 and V2, the reissue still has some vignetting wide open, which 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.
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 Leica M film 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 the model 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 fairly heavy Leica 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 fast 1/16,000 shutter speed of the electronic shutter.
A specific challenge during this shoot was photographing through the car’s windows. The Leica 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 Leica 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 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?
– Milan Swolfs
