About a month before Japan’s world-famous cherry blossom season in late March, is the lesser-known plum blossom season in late February. Plum blossoms in Japan are the first hint of the coming spring, and while not as explosively striking as cherry blossoms and the warming weather than accompanies them, plum blossoms are enough to attract Japanese for plum blossom viewing if not tourists from overseas. There are some famous Japanese gardens for viewing plum blossoms in Ibaraki Prefecture where I live, like the Mount Tsukuba Bairin and Kairakuen in Mito, the prefectural capital, but I don’t need to travel too far from my front door to see plum blossoms, as there are many plum trees in my own neighborhood, and these make excellent subjects for photography.
When I bought my first Leica M3, one of the first lenses I bought for it was a 1950s era Summicron Dual Range 50mm f/2—’dual range’ because it has attachable optics that allow for shooting subjects up close, from just under 50cm up to 90cm as opposed to the standard minimum range on the lens from one meter. As far as I know, no other Leica Summicron 50mm f/2 allows for focal distance from 50cm, although later versions of the lens do allow for shooting from 70cm rather than one meter.
The Summicron DR is often considered the Summicron 50mm to go for when on a budget. It sells for substantially less than later Summicron models and even its non-DR sibling which sold contemporaneously. There is a reason for that. First, the Summicron DR is heavy, and if you check Ken Rockwell’s excellent comparison of Summicron 50s, the DR weighs in at a whopping 339g, the heaviest Summicron 50mm of them all. But what can you say? Brass is heavy.
And then there is a design flaw that precludes mounting a Summicron DR on a Leica digital camera like the M9, M240, and M10—the only Leica M-mount lens I know of that won’t click into place if you try to mount it on the digital Leica M cameras—which in any case I don’t recommend trying for yourself! If you do, definitely do not force the lens, or you will do serious damage camera body, the lens, or both!
Even non-recommended lenses like the collapsible Elmar 50mm f/2.8, 1950s and its later versions, will still mount on a Leica digital M camera. Just don’t collapse it while mounted like you would on an analog Leica M, or you risk damage. The 1960s era Leica Super Angulon 21mm f/4 will mount on a digital Leica M. However, the rear element sits far enough into the body as to mess with the light meter. So, it is only the Summicron DR that turns its nose up at a digital Leica M like a cranky Leica film camera purist!
That being said, as long as it is an analog Leica M that you want to use, the Summicron DR is fine. Even though it was designed for the M3, it works fine on the M4, the M6, the M7 even with the optics, and presumably with the M2, M5, MP and M-A. As for lens quality, you won’t get the extreme sharpness of later versions of the Summicron 50mm, but who cares? On film, it is hard to distinguish the results between the DR and its progeny, and sharpness really does not matter that much most of the time, unless you are into spy plane photography. I’m not.
If you use the DR without the optics, it works just like a regular Summicron. In fact most of the time you find a Summicron DR for sale, it is sans optics, which you might have to buy separately. Watch out though. The optics tend go for around $400. In my case, I bought the lens with optics and freshly overhauled from Kanto Camera in Japan, one of the best old Leica servicers in the world.
When it comes to attaching the lens, the Summicron DR has a few quirks. First, the focal distance must be set at infinity in order for it to mount. I am not sure why this is, but I suspect it has something to do with the same design flaw that makes it unmountable on the digital Leica M cameras.
You switch from standard range to close-up range by tugging on the focus ring and twisting a protruding physical stopper on the rotating focus part of lens barrel from one side of an immovable barrier to the other on the top of the lens. However, the focus ring will then be lock until you attach the close-up optics. There is a protruding button on the optics mount which the optics frame depresses when attached. Presumably, that unlocks of the focus ring.
Once the optics are in place, you can focus with the range finder as usual on anything between fifty and ninety centimeters. Impressively, the Leica M3 corrects for the parallax at close range when the optics are attached. I suspect other analog Leica models do the same, but I have not tested this.
I shot all the photos in the piece one sunny morning during plum blossom season with a Leica M3 and Summicron DR 50mm f/2 with close-up optics attached. I used a yellow filter and shot with Kodak T-Max 100 at EI 800. I set the light meter for ISO 500 to compensate a half-stop for the yellow filter, and to slightly overexpose the T-Max 100 film to get the results I like. I developed using Kodak T-Max Developer as per Kodak guidelines when pushing T-Max 100 three stops.
I am a street photographer who lives in Japan. If you would like to see more of my work, have a look at my website bleisteinphoto.com, or my Instagram @sbleistein
Contribute to 35mmc for an Ad-free Experience
There are two ways to experience 35mmc without the adverts:
Paid Subscription - £2.99 per month and you'll never see an advert again! (Free 3-day trial).
Content contributor - become a part of the world’s biggest film and alternative photography community blog. All our Contributors have an ad-free experience for life.
Sign up here.
49 thoughts on “Leica 50mm f/2 Summicron DR – Plum Blossoms – By Steven Bleistein”
Nice pictures, but I’m wondering why you shoot plum blossoms (or any blossoms) in B&W. Furthermore I’m asking myself why you would push Tmax100 for this kinf of subject. Like to learn more!
Glad you like the photos. Even though they are monochrome, I like them too! Monochrome accentuates textures and contrast that would be less apparent in color. I usually shoot T-Max 100 at 640 and push process to 800, as overexposing monochrome film tends to deliver better results. Pushing gives me a lot of flexibility in wide range of light conditions. Some of the photos were shot in the shadows, whereas others were shot in the sun. I also like the effect. Pushing T-Max tends to result in higher-contrast images, whereas pulling results in lower contrast. Also note that I used yellow filter, which I think also helps with the contrast and darkens the blue sky backgrounds in some of the photos. With a yellow filter, I lose about half a stop of light or so, so I metered for 500.
You must hate shadow detail
Not really. What makes you think so?
My thoughts, too. As I scrolled down I was fully expecting to see some colour shots. I’m not a gardener and know little about flowers, but just seeing them in colour gives me a lot of pleasure.
When I think about all my b/w negatives, there are no flowers. Would anyone find this surprising? Slides and colour neg, yes, and they weren’t just simply point and shoot objects, but were woven into the composition.
Try shooting flowers in monochrome as an exercise. Doesn’t have to be film. It will change your perspective, and you will learn something worthwhile from the experience. I did.
Sorry, Steven, but it won’t change my perspective at all. And what makes you believe I’d learn something worthwhile? I had about 42 years doing my own b/w D&P, and I know flowers in b/w don’t cut the mustard as far as I am concerned. You learned something, good. But please don’t preach to me that I would, too.
No need for you to apologize to me. Not preaching. Just suggesting. Up to you to do what you do.
I have also tried shooting similar photos and sometimes they work out sometimes not. Some of these blossoms are white anyway so there is no special colour that would make the photo more interesting. I wouldn’t say you can’t make an interesting b&w photo of flowers or blossoms. It mostly depends on what’s interesting about the particular flower/blossom. If it’s the colour it’s obvious that b&w is probably not the best choice. But there are many flowers/blossoms where the most interesting aspect is the shape and in that case b&w often works better then colour in my opinion. This works especially good in still life studio photos with a uniform background. Out in the field it is often difficult to make the shape stand out against the busy backround you have most of the time.
I’ve seen some very interesting still life shots of flowers shot in b&w with imaginative use of lighting to excellent effect. This type of shot wouldn’t work in colour, I agree, as it relies on the inter-play of form and light, and the result is more than a mere record shot of a flower. So, yes, b&w can work, but for me the magic of flowers is colour. And in this respect I have the support of millions of nature’s pollinators who agree with me.????
Interesting article on what bees see. https://www.beeculture.com/bees-see-matters/
Bees can see color, but the range of visible light they can see is different from ours. Bees can see ultraviolet, but red is beyond their visible spectrum. We can see red, but UV is invisible to us. I would love see what a field of flowers looks like to a bee.
Thanks for the bee link. Very interesting. Then there are certain birds for whom some flowers rely on being pollinated. These flowers are in the red to yellow range. Some friends have a very colourful garden which I’ve been photographing for many years and I’m fascinated by the choice of colour the bees mostly select. Earth bees, “bumblebees” as they are mostly called in the UK, seem to love red and which I’ve noticed them favour first in a patch of different coloured flowers. Hive bees, on the other hand, will flit from flower to flower.
Two things Steve. 1) they look superb in black and white and encourage thought (as you suggest ). 2) I have had two later Elmar collapsible, which are fantastic lenses. Worried by online comments on collapsing them into a 240 then a 10 I asked Jimmy Hughes (the great tech at Leica London) and he said: “I think they’re just being uber-careful – there is no problem ‘collapsing’ any of the Leica collapsible lenses on M digital bodies, and I have never encountered a camera that has had its shutter/sensor damaged by one of these lenses”. I worked successfully with both lenses in both cameras. Additionally, they are a joy to use.
Thanks. Love my 1950s era Elmar 50mm collapsible. It works fine on the M240, but I have never had the courage to try to collapse it. Good to know your experience. I still advise caution.
Lovely photographs, particularly four and five. Sakura in full bloom is stunning, of course, but I am partial to the plum blossom “season” with its promise of what’s to come. Your photos capture that sense of expectation well.
Thanks, Floyd! Coming from you, that means a lot! Plum blossoms are like the first breath of spring in Japan, and often bloom even while it is still cold and wintery. Plum blossom season is one of my favorite times of year.
I’ve owned most of the Summicron versions in 35 & 50mm ranges. Favorite being the 35mm V4 second place the 50mm Rigid for everyday use. Absolutely superb lens.
I have the Summicron 50mm v4 as well. It is by far my favorite.
Always enjoy your articles Steve.
As for the DR lens, I have that as well as other Leica 50s including the Lux Asph, but nothing is built as well as the DR. Interestingly Leica made two sets of goggles for the DR, and the lens needs to be matched to the correct set. I did not know this when I bought my DR and when using my goggles the image is off in the vertical axis. It still focuses correctly as it seems that in this scenario all that matters is the horizontal axis, but nonetheless it bugs me!
Thanks! I did not know about needing a matches set of optics. This is important, because optics are often sold separately. I’ll see if I can find more info on that. If you have any sources, please post.
Information for which googles to get can be found here:
Lovely – while I love flowers in colour, black and white gives a totally different take. I have the 50mm DR Summicron and consider it sublime. Joyful old style rendering and the whole thing is wonderfully rocket baroque, with a quality of construction unsurpassed by anything. Sadly it does not fit my M5 (I use it on the M3 anyway) but if you remove the rubber rest at the back it will, but why bother.
Thanks! I did not know that the Summicron DR does not work on the M5. I have personally used it successfully, even with the optics, on the M3, M4, M6, and M7.
Really great pictures Steven! I have the DR with goggles and this post reminds me I should use them more. Might have to get out in the garden now we can’t go out. I have to say I absolutely love my DR and after owning the v5 previously I personally much prefer the rendering of the DR, might not be for everyone but love the results I get with it. Thanks Ben
The V5 Summicron 50mm is a wonderful lens, probably sharper than the Summicron DR, but who cares? The Summicron DR was optimized for monochrome film, and in my experience the Summicron DR does have distinct rendering.
I agree, the v5 was a joy to use and got great results – I failed to mention I shoot 99% bw film which is why maybe the dr is more pleasing to my eye for what I’m doing. Anyway – enjoyed the images, hope to see more
I am surprised of the rendering of this Summicron DR, normally also wide open, it has better rendering.
There are very nice. And I like flowers in B&W!
I inherited an externally ugly DR Summicron that had lived a hard life. It’s slightly hazy but not enough to worry about.
I’ll repeat the warning about using the DR on a digital Leica. I was overly curious and mounted it on my M240. It sort of worked at close distances but would bind up at various points. And I’m pretty sure it nudged my rangefinder cam a bit out of alignment, because I had to adjust it shortly thereafter.
The lens and its goggles live on my father’s M3 now, where it’s very happy.
To make this wonderful beautiful blossoms without the help of color, great BW can render … This is not an easy easy task, but for example Carol Sharp is great, maybe her name helps, … or she has a better Summicron DR, … nobody knows, but I should like to see how she will make these Japanese Blossoms in BW.
I am a bit stunned that photographing flowers in monochrome could generate such controversy! It is hardly an original idea. Ansel Adams also photographed flowers and plants, and so have many others! Images of flowers do not require color to be beautiful.
During the same season, I did go to the Tsukuba Bairin, a garden of plum trees on a mountainside, not far from where I live, and made photographs there as well–in monochrome! You can view my gallery here.
My favorite is The Philosopher’s Path in Kyoto, but this time I really like your silver Leica meter, … BW is not a problem, it depends how it is made. You speak of Ansel Adams, he is a Master … !!! He has not images of Japanese blossoms … really miss.
I love the Philospher’s Path, particularly during sakura season!
Great shots here Steven, although I’m sure you know that as you chose to share them. Don’t worry about the grumps on here 🙂
Thanks! No grumps here, just people expressing their views, likes, and dislikes.
I think you’re mistaken about being able to use it without the goggles. Don’t think it will work. The option is the 50 Rigid, without the close-focus capabilities. Sweet optic.
No mistake. I use the Summicron DR all the time without the goggles. It performs just like a Summicron rigid.
Interesting. I know the goggled 35 (Summicron and Summaron) can’t be focused without the goggles attached. Is its mechanism different? Goggles only for close-up work?
Yes. The Summicron DR is designed for bother regular and macro work. Hence the “DR.” The “DR” stands for “dual range.”
The Summaron detachable goggles were designed only to make storage easier. The lens will not function without the goggles attached. The goggles are meant only to covert the M3’s 50mm frame to 35mm, as the widest from on the M3 is 50mm.
Nice shots Steven. I haven’t shot many flowers in monochrome, but on the back of this article and some other shots I have seen recently it is something I shall have to try. I don’t own a Leica but that shouldn’t make a difference. Black and white is an area that I am definitely going to have to take more seriously. I find myself being drawn to Black and White shots more and more.
Give it a try! And no, you don’t need a Leica to take great photos.
I find some of your comments very odd.
1. The DR is a budget lens.
2. The DR has a fault, or a flaw you may have called it, which won’t allow it to be used to it’s full capacity on a digital M. It’s not a fault, it’s simply a different design!
3.The DR is optimised for black and white film. I had a little chuckle at that one.
4. The M3 corrects for parallax error. The M3 doesn’t correct for parallax error, that’s what the goggles do. They would even work on a digital M if the design of the digital would allow the cam to protrude completely back into the body.
1. The DR was not a budget lens when it was introduced. It is a budget lens today because the demand for other Summicron 50mm lenses is so much greater. In my opinion, the DR is a great bargain.
2. Leica had always intended newer Leica M bodies to be backward compatible with M lenses. The DR is only one of two Leica lenses I know of that is not backward compatible. You can call it design if you like, but I call a design choice with an undesired consequence a ‘flaw.’
3. Yes, the DR lens coatings were optimized for Monochrome film at the time it was produced. I got that from Ken Rockwell.
4. The M3 does correct for parallax error. Once again, I got that from Ken Rockwell, but I would not need to have confirmed it with him. I can see the correction when close focusing with any Leica lens on my M3. If you own an M3, try it yourself.
I have a few SLR’s (both 35mm and medium format) and my Leica M3 is my only rangefinder camera. The Summicron 50mm DR is the only lens I have for it and I kind of made peace with myself that it’ll probably remain so, since Leica M glass is so expensive…
Love the lens but it definitely has a distinct, old-style character – sharp for a lens its age but probably not up to modern standards, and not overly contrasty. The latter feature is something that actually appeals to me – particularly for skin tones and delicate textures such as the cherry plum blossoms you shot (yes, I also like shooting flowers in BW for that very reason), and therefore I prefer BW emulsions that emphasize this feature, such as the Ilford XP2. Granted that I also use XP2 for practical reasons since I don’t develop film at home and the XP2 is a chromogenic C-41 emulsion, but I like the smooth tones it produces.
Regarding compatibility, Leica has confirmed that the newer Leica M11 is fully compatible with the DR Summicron (including the use of the close-range goggles – more on that in the next paragraph) since the M11 no longer has a photocell in the bottom as its predecessors and meters directly at the sensor in the back, so the far-range lens cam (the half-circle brass ring at the rear of the lens barrel) no longer hits or covers anything. As you’ve guessed, that is also the reason why the lens must be mounted with focus at infinity on the M3 – the far-range lens cam rotates together with the focus ring and at infinity it is in the least protuding position.
There seems to be compatibility issues with the close-range goggles as well – for instance, as Ken Rockwell also pointed in his review of the DR Summicron, the original Leica M6 can use the DR Summicron with these with no problem, but the TTL version cannot since the latter’s top plate is thicker and the rangefinder windows are slightly farther from the lens mount as a result, which prevents the goggles from having a proper alignment.
Thanks for sharing the information on the M11 compatibility with the Summicron DR. I have to wonder however if the goggles will correct the frame and focus properly. The M11 I believe, like the M10, has a lens mount bezel the protrudes about a millimeter more than other Leica M cameras, meaning that the goggles will be positioned further away from the finder windows. Someone would probably have to test it to know for sure.
Hi Steve, according to Jim Fischer in his PCMag review of the Leica M11
to switch between ranges with that familiar pull of the focusing ring at 1m there is actually an internal mechanical obstruction to completely turn the ring between ranges after pulling it, so one has to do it with the lens detached. That’s the only caveat Jim reported on the use of the DR Summicron on the M11, and it doesn’t have to do with the goggles proper – if you switch ranges by simply pressing the silver ball on the top of the lens before pulling the focusing ring as people without the goggles would do, the obstruction is the same.
According to Jim, if you switch between ranges with the lens detached, either by mounting the goggles or by pressing the silver ball, the goggles should work just fine – I guess, despite the thicker lens mount bezel (which, by the way, does show up in one of the pictures in the review). There are five pictures in the review which were taken with the M11 together with the DR Summicron, and all look quite lovely. At least one of his pictures – namely, the one of the German Shepherd – was certainly taken in close range, but he doesn’t say whether he used the goggles or Live View / Visoflex for focusing. I posted a question to him in his review on this matter, I’ll update here with his answer later on…
Hi again Steve,
Jim replied and he said that, to the best of his memory, the close-range pictures in his PCMag review were all taken with Live View / Visoflex, but he did test close-range focus through the M11’s rangefinder using the goggles and, as far as he remenbers, it worked just fine at f/2, where the depth of field is the shallowest. He doesn’t recall checking for parallax correction in that setup, though, so that feature working or not remains to be confirmed (I wonder how one can test this, btw). Anyhow, at least we do know that the lens itself is fully functional on the M11 through its whole (dual) range, so if you use it with either Live View or the optional Visoflex 2 EVF you can still use the lens’ full potential. However, if one is adamant about focusing the DR Summicron though M11’s rangefinder, it’s likely from Jim’s answer that the goggles also work despite the thicker lens mount bezel. It only adds to the workflow detaching the lens when switching between ranges, which seems a rather minor nuisance if you ask me.
BTW, you can use the Summicron DR with the Leica M240 in close-range mode. I wrote a piece on that for 35mmc last year. The link is below if you are interested.
In due time, a small correction: it’s not that the far-range lens cam is in the least protuding position at infinity, but rather that it’s at infinity that this cam is in the right position to make contact with the rangefinder coupling bearing when mounting the lens.
All good to know. Thanks for following this up.