The 'Holy Grail' 50mm Lens

A long-term review of the modern Leica Summilux 50mm F1.4

The 50mm lens defined the rise of photography. It’s a perspective that many believe is how the human eye sees the world. And a focal length that can single-handedly be credited for the continued use of the word… ‘nifty’.

Now look, I don’t wanna distract you with all the other words I find annoying because we have to talk about one of the most compelling lenses in the Leica lineup, the new Summilux 50mm F1.4 with close focusing. For well over 60 years, the Summilux 50 has been synonymous with the idea of a holy grail lens. A lens that you’d save up for and use until the wheels came off. A lens that could deliver a phenomenal, and even magical results, but stay compact. A lens so versatile that you could define your entire career with it. And the latest version? Well, it looks to be the most capable one yet.

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The New One

Let’s start with how this lens improves on the previous version that has been on the market for nearly twenty years. And more specifically, let’s start with something that hasn’t really been talked about in an accurate way.

The rendering of this Summilux 50mm is just like the previous version. When you take a picture, the colour and contrast behave in a way that feels like a Summilux lens. Another way to say this is that if you plotted your results on an MTF chart, they follow the same behaviour as the previous version. But, this version is actually sharper. It produces sharper results—especially when used wide open and you inspect the edges—with noticeably better flare control. Now, why is this interesting? Well, indulge me for a second.

Leica has actually changed a few of the optical elements and improved the coating on these elements to produce the best version of the Summilux 50mm for the M system that they could. If you’re imaging that MTF chart—and look you don’t even need to understand the specifics—all you need to know is that you now have something that takes the previous curve and lifts it up on the chart. This translates to better details while keeping the same soul.

This improved design also results in flares being controlled a lot better. And perhaps more importantly, the improved design means that you can resolve better images on higher resolution sensors. Now keep in mind, all of this is being done while this lens maintains the characteristics of what makes a Summilux lens so special. So that’s the what, how, and why around the changes to the optics. Before I get to my honest thoughts on this lens, let’s talk cover some of the other changes.

There’s a new focusing mechanism that gives more room to increase the *ahem* stroke length. While the focusing behaviour of this lens feels just as it does in the previous version, you can now focus as close as 0.45m. As you pull focus beyond the typical 0.7m on an M lens, you feel this bump to let you know that you’re in the close-focusing range and now you’ll use the rear LCD or Visoflex attachment to focus your subject. This change effectively allows you to close the gap between you and your subject by just under a foot, which can be very useful in the field.

There are now 11 aperture blades inside the lens instead of 9, and this lends itself to cleaner bokeh when you stop down your lens. You won’t notice this in images shot at F1.4. But when you close that aperture and catch some light, you’ll notice that this lens performs better than before.

This Summilux now has an integrated hood that rotates out, which can be perceived as an improvement to the overall user experience. The shape of the lens has also changed, so it’s a smidge shorter and tad thicker than before.

Okay, now that you know what’s changed with this lens, let me share my thoughts after using it for the last six months, what—if anything—can be improved, and why I believe this shouldn’t be the first lens on your wish list when it comes to the M system.

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Some Specifics

If you haven’t already, you should cue up my Summilux 35mm lens review after this. I speak at length about this ‘magical’ Summilux look and it’s something worth understanding. In short, what you’re buying into with this lens isn’t the most sharp, the most technical, or the most accurate image rendering. You’re buying all of those in a high-degree while leaving room for some character that isn’t unpredictable or vintage looking.

When you’re shooting wide-open, you have incredible sharpness where you need it and as you move away from your point of focus, you have this exponential drop in sharpness and contrast that defines these Summilux lenses. It’s what gives it that magical feeling. This design exaggerates the depth to deliver more ‘pop’ and almost feels like it’s an aperture wider than F1.4.

When you move down the aperture range, even as quickly as F2.8, the sharpness will naturally increase across the frame in a dramatic way. This behaviour is what gives the lens so much versatility. You can go after this modern-ethereal look in one moment and then capture something more grounded in the next. And to take this further, though this Summilux is not marketed as a Leica APO design, it has some apochromatic properties that ensure your edges and highlights don’t render any weird colour shifts. Now, compound this with the improved coatings that control flare, and you’re left with something that challenges you to shoot into the light.

Whether it was on an M11, SL2s, or Monochrom camera, this new 50mm lens would deliver exceptional results in all sorts of environments. Because of it’s design, with the characteristics and close-focusing, you had more latitude on the stories you could tell. You can capture these very intimate portraits that pull you into the subject. Or you could step back and establish a story. And sure, there’s plenty of lenses that can do this. But the degree in which it’s achieved on this is lens is rivalled by few.

Let’s also keep in mind, this is being done in such a compact package. At 337g and a 46mm filter diameter, the lens is practically tiny by modern standards. It doesn’t feel like it’s pulling your camera too far forward when it’s mounted. And this contributes to that magical feeling where you have a discrete setup with wide-reaching story implications.

Even though the 50mm focal length may not sit in my top three, it’s this complete package of features and design that made it necessary for the work that I’m building. It’s a lens that could complement the look of my Summilux 35 while touching different elements of my storytelling.

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Building A Better Future

Now, how does a lens like this get better? Truthfully, there’s not much you could do. I’m sure people will put their hand up to mention other, and even more affordable lenses that are sharper. But the reality is that it’s all a choice for the consumer. You can look to spend less and chase sharpness. You can look to spend more and chase accuracy. And hell, you can look to spend Scrooge McDuck money to get even more magic. For my money, these Summilux lenses end up being incredibly versatile for all that matters in modern, digital photography.

If I had to nitpick, I wish that the integrated lens hood was removable. And I’m not saying that because mine has been through the ringer; I actually love how worn-down it’s starting to look. I just like having the option to swap out lens hoods. But again, I can see why this choice is better for most consumers.

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Is 50 The Sweet Spot?

I wanna believe it’s less prevalent now but when I was beginning my journey in photography, the 50mm lens was the go-to lens for everybody. You bought a DSLR with a kit lens and then you just added a 50mm F1.8.

The 50mm was a focal length that most pros and sales teams wanted you to believe was how your eyes saw the world. It was something that defined so much iconic photography that you just had to have in your bag.

What a load of sh*t that turned out to be.

Look, I can see why the 50mm focal length adds value to many creatives but I just can’t accept that this is where most people should start their journey. I also can’t accept that this perspective is how most people “see” the world. For me, the 50mm can be sterile. Too comfortable. It’s can be a safety blanket that lets you stand further from your story. It’s also something—at least if you’re asking me—that’s pushed on consumers by marketing budgets around the world to move cheap glass, increase average order value, and grow market share.

As someone that’s owned many 50mm lenses and enjoys them for some work, I routinely tell people to avoid starting your journey with this focal length. Consider this a specialty lens, like how the 85mm became synonymous with portraiture or 100mm for macro work.

So, this then begs the question… What should you start with?

Go wider. If you’re starting your journey and looking to cut your teeth with family, street, travel, or documentary work I say you start your journey with a 28mm perspective. Why? Because this is a lens that’s going to make you work. The 28 gives you a much wider canvas to consider and makes you think differently as a photographer. It creates this inertia inside of you to move; either closer or further from your subject.

More importantly, I think a 28mm lens will make most people get out of their comfort zone. While mobile photography has conditioned us to become more accepting of a wider field of view, producing an image you’re proud of on a 28mm is not easy. You can’t just open up the aperture and expect things to be magical. It demands more. And another thing that I really love about it? It forces most people to get physically closer to their subjects.

And from here, a few things can happen. You might love this perspective and pair another lens to add variety your work. And perhaps this is where a 50mm comes in to capture detail shots. Or you realize that 28mm might be a bit too wide, so you opt for a 35 to just close the gap a little bit. OR, you wanna go bold and reach for a 24mm or 21mm to really expand your canvas.

The reason I say this is to challenge the concept of the “nifty fifty” that has been around for decades and something that I can’t help but feel that is adopted far too easily, without real consideration for each photographer’s journey. The 50 can be great but I think it’s important to build great discipline before you commit to this perspective.

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Where Have I Landed?

Though I had a vintage 50 in my collection, I realized that I needed a modern version that could pair with my Summilux 35mm lens to help capture additional story elements. I needed a lens that could close the gap between me and certain details.

After getting this lens shortly after it was announced, I would then go on to force myself to use this lens instead of my 35mm for the better part of (now) eight months. I had to learn how this lens sees the world and in turn, see the story that a 50 could tell.

I quickly realized I couldn’t just shoot this 50 like my 35. It might sound trivial but the reality is that you really do have to change your approach. It’s like adding a new weapon in an action-RPG game, you have to re-learn the mechanics.

With enough intentional practice, I eventually started to appreciate the nuances of this lens and how it could compliment my long-term projects. I realized how best to use this tool for capturing those intimate details that suck the viewer into the world of the subject. I also got to play with more blocking—a more aggressive layering style if you will—that lets me use distance in fascinating ways (stay tuned for my video review where you’ll see many more sample shots).

When it comes to the 50mm lens market, there’s no shortage of choice. You have so many modern options and even more when you dive into the historical catalog. But the reason I went with this lens—and what cemented my choice over the last eight months—is that beautiful, contemporary result that could fit in my visual language and close the gap between the viewer and the subject. Be it through distance or blocking.

With all that said, I can’t tell you whether or not you should get this Summilux 50mm lens over the predecessor, or another 50mm entirely. But I do believe I’ve given you enough information to help you make the best decision for your work. And really, that’s what any of these buying decisions should come down to: how will it impact your work.

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New May Contest!

Each month, I run a contest for the Church & Street community and try to feature something that I think people will appreciate.

For May, I’ll be giving away a five-pack of Kodak Portra 400 35mm film. This is the colour stock that I use the most when I’m shooting film and I know that many of you reading this wouldn’t mind having some extra rolls for your inventory.

How am I picking the winner? All you have to do is be a member of this community and leave a comment on this post. As with every contest, I’ll be randomly picking one person, confirming they meet the requirements and then contacting them directly before announcing the winner publicly.

Due to shipping restrictions, this contest is only for US residents and void where prohibited by law. Good luck!

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What’s Next?

So there you have it, my review of one of the most iconic 50mm lenses on the market. I gotta say, putting this one together took a lot more time because again, I had to really learn how to see with a 50 again and that journey turned out to be a fulfilling one. I’m really interested to hear where you land on this lens and this focal length, so drop your thoughts in the comments below.

This week I hop on plane to Finland for an incredible, new project. Something that really feels like a bucket-list opportunity. I won’t spoil the fun just yet. Just be sure to check your inbox in two weeks. Anyway, that’s enough for this week. See ya next time!

GB