Summicron 50mm F2 Serial Numbers
Vita Strait
In general I try to get later serial numbers simple because I prefer the modern glass... I have a 1990's Summilux-R 80mm that is simply great, don't think the tiny difference with a pre 1980 model would even show in print. OR would even be distinghuised.
Summicron 50mm F2 Serial Numbers
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Then comes the only "tabbed" version (1979-94), that shares the same 6 element formula of the following, current, version. This tabbed summicron seems to have been made in Canada from the beginning and, somewhere in time, close to the end(1994) of production was moved to Germany. There are, at least, two versions of this lens, the earliest with a convex tab (until 1982, according to another thread) and the latest with a concave tab.
It seems to exist so much information about serial numbers, manufacturing years, special editions, insignificant batches of this or that color and engraving, etc., etc., that is surprising not to be able to tell where a lens was made. Specially if you consider that there are just two options, Canada or Germany, and this uncertainty can be isolated to specific versions of each of these magnificent lenses.
Unfortunately lens numbers are not recorded with the information you are looking for (at least not as available to the public). The only way to tell for sure where a certain lens was manufactured is to look at the lens barrel.
I am not a camera enthusiast but have come across a Summicron R 50mm which is made in Germany and the the serial number is from 1972. Does anyone know how much this should/would go for in ? Any comments appreciated. Thank you.
Yes my friends, perfection does not come cheap and this is a wallet buster for sure, even if you are well off or have cash in the bank. For quite a while I was upset that Leica priced this lens the way they did and I remember early on after the announcement I was ready to give up my Leica for good as they were pricing so many out of the M system. I mean, $7,350 for a 50mm f/2 prime when the still current non APO sum micron is $2300?
Actually, no it is not ? This is the best 50mm prime in the world IMO and going by many lab tests. While silly in red, the black model is beautiful and is an amazing optic. The fuji is nice too, but not at this level, and 5X larger.
Disagree that this lens is flare-free. Quite easy to make it flares (and mine is 2015 batch). Compared to the summicron ver. 4, it is much much better though. Anyway, for its price, quite disappointing on the flare control issues, but otherwise it is a fantastic lens.
Really want to see your review on part 2.
Travel photography is my hobby. I love my Noctilux for taking pictures at dawn and at night. For day time, i think the 50mm summicron APO would meet my needs but i also love my 50mm summilux asph alot as i have been using it over the last 2 years.
Differences are pretty extreme. Color is MUCH different. The Standard cron has a cool color cast. Sharpness is next. The corners on the standard cron are not sharp wide open, and at f/2 the APO is MUCH sharper but at the same time it offers a nice rounded look without being analytical. BOKEH is MAJOR. The old cron has busy bokeh that was always a complaint from the owners. The Bokeh in the APO is much improved. CA is present in the standard cron, it is absent (well, 98% absent) in the APO. Contrast is increased dramatically in the APO as well. When side by side, the standard cron looks like a 100% different lens from color, to detail, to contrast to well, everything ? BUT I WISH I could not see these differences, trust me. This lens is distortion free, and as perfect as a 50mm can get for 35mm.
I would need a Leica body for that lens plus a professional monitor just to get started to enjoy a great prime lens. Wonder if these Leica prices (roughly $20000 incl. monitor) justify these modest incremental IQ improvements compared to the Sony A7R and the Zeiss 50mm. Paying $7000 plus for a standard prime lens is grotesque.
This lens is way beyond my budget. I just want to share the fact here that all camera brands have a decent, affordable, fast 50mm equivalent lens in their line up. I own the Canon EF 50mm f1.8 II and I still recall the day I put it on my 550D. It was the lens that really introduced me into photography. It can be bought for less than $100. Nikon has it, of course, and taking the crop factor into account, the Nikon 1 18.5mm is also part of the club.
Steve, I enjoy your review writing style and I am looking forward to part II & III. If possible, I would love to see some pictures of the Leica-Lumix 25mm f1.4 @2 next to the Lecia pictures.
Roger at lens rental, just did a comparison of the best 50mm lenses using his new optical bench and the 50mm f/2 APO did very well indeed. In terms of sharpness beating both the Sigma Art and the Ottus at f/2 center middle and corner as well as having near the lowest distortion. Very impressive lens from a technical standpoint, and this review says the same in a artistic sense.
It is modestly priced at $8,995 by Leica standards. The 50mm f2 APO version comes equipped with exceptional lens aberration and aspherical corrections. As a result, the lens produces superbly sharp images with bokeh that melts into the background, minimal distortion, and no fringing. This is what sets this lens apart from other 50mm offerings on the market.
The Leica 50mm f2 Summicron APO lens offers a modern look without losing its Leica heritage. Images are superbly sharp with beautiful bokeh. It is the perfect size to take with you anywhere and versatile for a variety of shooting applications.
We used the Leica 50mm f2 Summicron APO ASPH lens with the Leica M10-r body. We used the Broncolor Siros L 800Ws when utilizing studio lighting as well as the Broncolor Para 133 when inside the studio.
The petite Leica 50mm f2 Summicron APO lens is built on the foundations of what made the original Leica-M Summicron 50mm lens great. The newest generation adds exceptional correction of color and aspherical aberrations. The apochromatic correction reduces distortion to where it is nearly imperceptible.
This is a beautiful lens: it feels like a piece of art. The build quality of the Leica 50mm f2 Summicron APO lens is impressive. It consists of all metal components and superior glass with a floating element. From a technical standpoint, it is a marvel. The lens delivers some of the most accurate images by utilizing some of the most revolutionary technology in a manual lens.
The steepest learning curve for me was retraining myself to utilize center focus and recompose accordingly. As a primarily DSLR shooter, I have the convenience of choosing where I want the focus to be. Once I got used to the feel of the Leica 50mm f2 Summicron APO lens, it was very easy to use.
The Leica 50mm f2 Summicron APO lens delivers an image quality that is sought after by industry professionals. When zoomed in at 100%, the sharpness in the details that matter most pairs well with a creamy soft focus. This formula creates compelling portraits. It also provides enough versatility that you could document a vacation entirely with this lens alone and be satisfied.
This is one of the sharpest 50mm lenses I have ever had the pleasure of photographing with to date. At f2, the sharpness extends from the center and remains in focus from edge to edge. This sharpness is only improved upon by stopping down. Frames that I barely miss focus prove to be sharper than a lot of the usable images I have captured on DSLR 50mm lenses over the years.
The combination of the Leica 50mm f2 Summicron APO lens paired with the Leica M10-r creates true-to-life colors with the extra pop Leica is known for. The need for any color correcting in post-production is minimal at most. Because of this, I became very fond of shooting during sunset as well as transitioning into the blue hour.
This is further complicated by the fact that the lens brings up the 50mm framelines on most M-mount cameras, regardless of vintage. So if you prefer to shoot using the 35mm framelines this needs to be worked around in one of a few different ways. For instance you can simply show the different set of framelines with the frameline preview lever available on most Leicas. Another alternative is to file down the frameline index pin on the rear mount, making the camera recognise the lens as a 35 instead.
Fantastic. Good performance wide open, great stopped down. Very pleasant colours and overall signature. No blockage of the viewfinder. The lens brings up 50mm framelines which leads to less accurate framing than 35mm frames that can be brought up using preview lever. Selecting the Summicron 35 IV in the correction menu gives good results without colour shifts or vignetting. Almost disappears on the M9, being so small and light. Very pleasant ergonomically. Relatively large aperture and short focal length makes the combination useable in all but the lowest of light.
The fourth APO M lens was the 50 mm APO-Summicron-M, and this is the lens I referred to in my introduction, Thorsten Overgaard in his lens compendium refers to it as 'The World's best 50mm'. I think that was almost certainly true on it's release in 2012,
The lens diameter at 53mm is the same as the 50 APO. Without the screw in lens hood the length is 40.9mm as opposed to the 50 at 47mm, with the lens hood attached it's 49mm. It weighs 305gm as opposed to the 300gm of the APO 50, so, to all intents and purposes it's the same size as 50mm.
One of my youngest workshop students with a Leica 50mm Summicron-M f/2.0 Rigid (Series II) on the camera. 15 year old Emily Russell who already works as a professional photographer. Website: www.emilyjeanrussell.com
Simplicity: Even the 24MP digital rangefinder camera Leica M 240 looks like a good old classic camera with the Leica 50mm Summicron-M f/2.0 II rigid and the original lens shade, model 12.485.
Here is a Leica Summicron M 50mm f/2 Rigid Black Chrome made for Leica M4 black. It's not a black paint model but a kind of prototype made for the last version of Leica M4 Black paint, and Leica M4 black chrome.
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