Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

By Scott Ferguson

6 April, 2026

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Gear Theory Lenses

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Leica 50mm 1.5 Summarit Leica 50mm Summicron DR Leica 50mm Summilux Leica 50mm summitar Lens Theory
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For reasons I may not be able to fully explain (even to myself), but many 35mmc regular readers and contributors will understand, I own four different Leica 50mm lenses.  Leica cameras have remained the dominant high end range finder camera through the entire 100 + year history of 35mm still photography, which began at Leitz Camera when Oscar Barnack decided he would create a small device to test film emulsions for their motion picture cameras.  Barnack saw potential in a small lightweight handheld still camera, one thing led to another, and the rest is history.

Obviously, a huge part of the draw of the Leica system is the style, engineering, ergonomics and durability of their cameras, but there is also a tremendous amount of lore and opinion about the large number of lenses that Leica made over that 100 year period, most of which are fully compatible or easily adaptable with any M film camera made since 1954.  Delving into that lore has lured me into buying and trying different lenses, most of them lower-priced (for Leica) vintage lenses from the late 1940’s to early 1960’s.  Coming from a cinema background where changing lenses is a major creative tool, this included a wide range of focal lengths from 21mm to 90mm, and (up to this date) four different 50mm’s.

As I’ve discovered since joining the 35mmc community, I love a ‘project’ (some call it a ‘rabbit hole’) and the idea of doing some kind of lens tests/comparisons with my 50mms started to hatch during the long stretches of bitter cold weather and record snowfall of the Winter of 2025/26.   At the start, I’d like to say that these are all amazing lenses, so any conclusions I might make are a matter of my personal taste as opposed to a universal objective evaluation of technical quality.  Other photographers are likely to come to their own conclusions for excellent reasons, or have other lenses made by Leica or other great companies that they prefer.  That’s why I’ve called this exercise the “Goldilocks” challenge.  I’m looking for the lens that is “just right” for me.

The idea of a ‘battle of the 50mm’s’ seemed like a bit of fun and a good way to get some use out of those lenses, a few of which had not been in regular rotation for a good while.  I thought I might learn some interesting things and see things a little differently than when I first tried them, having built up a good deal more experience shooting and looking at photographs.  If this is valuable to readers who don’t share my visual aesthetics, it might be to get a feel for lenses they haven’t tried themselves or help someone who’s trying to figure out whether to invest in one of these lenses before they buy.

First, about the lenses — in order of acquisition, borrowing the “$” code for relative prices from restaurant reviewers:

$$$ – 1960 Summicron f2 Dual Range

IAN, 2/28/26  Leica M3, Leitz Summicron 50mm f2, Ilford Delta 400

This was the first Leica lens I purchased, heavily influenced by Ken Rockwell’s review calling it “the greatest lens ever made by LEICA” and going on to state that, “Its mechanics are significantly more solid and more precise than any other lens made by anyone — ever. ”

How could I resist?

However, my early efforts with the greatest lens ever made were not the greatest photos ever made.  Of the few that were good, it was more by ‘right time, right place’ luck than talent, intention or technique.  While the most important place to look to improve was on my side of the viewfinder, i.e., my photographer’s eye and brain, at first I sought external technical solutions to make my photos better.  If a roll of Tri-X came back looking a bit muddy and flat, it was time to try another film stock as opposed to figuring out why my results were subpar on a film that has been loved and trusted by great photographers for over 75 years.

Another place I looked to improve was by exploring different lenses, so I decided I would try to solve my problems by splurging on a high end contemporary lens.

$$$$ — 21st Century Summilux f1.4 ASPH

SIRE VS SIRI, 2/27/26 Leica M3, Leitz Summilux f1.4 ASPH, Ilford Delta 100

After doing a lot of internet browsing, including listening to Youtube videos by well known Leica-themed reviewers like Matt Osborne, I settled on a second hand Summilux f1.4 ASPH.  It was a $-stretch for sure — not quite as stratospherically unreachable as the $$$$$ Noctilux f.95, which will have to be reviewed by someone in a different tax bracket — but more than I ever thought I would pay for a single lens.  I was comforted by the idea that Leica gear has such a robust resale market that it would likely hold its value, if not appreciate. 

However, I didn’t immediately become a better photographer with the Summilux.  If anything, I got a little worse at first because I wasn’t hitting focus in low light with that lens’s punishingly narrow depth of field at the open end of the aperture dial.  And I was always trying to shoot in much lower light with the ‘Lux but I didn’t yet have the chops to get decent photos in those conditions.  Why have f1.4 if you aren’t going to use it?   Worse, I hadn’t learned to ‘see’ a potential photograph in terms what would make for a good composition or how the highlights and shadows would play on film.  I was just firing away at anything in front of the camera and not always loving what was coming back from the lab, except for the occasional shot that worked for reasons I still didn’t fully understand or know how to reproduce in another time or place.   

As I improved, I found that I was impressed by the Summilux, but I wasn’t sure I was in love with the Summilux.  It felt like it had a kind of ‘cool’/cold precision and maybe had a bit of a ‘digital’ feel, even on film.  But I really wasn’t in the market for another 50mm…

$ – 1949 Summitar 5cm f2

ISACK, Leica M3, Leitz Summitar 5cm f2, Ilford Delta 100

Having surfed too many camera-themed websites toward the end of 2024, I was talking myself into wanting a Barnack, and the local Calgary camera store had a very nice looking iiif.  Their deal was that if I bought the camera, I had 24 hours to try it out and return it, no questions asked if it wasn’t for me.  While we had a couple of Leica Thread Mount (LTM) lenses back home in the US which I could pick up over the Xmas holidays, I needed an LTM lens for the 24 hour ‘trial run.’  So, solely for the purposes of testing the Barnack, I “bought” a Summitar 5cm thinking I would return it and keep the camera.

As it turns out, I returned the camera and kept the lens, because the photos looked pretty cool but the Barnack user interface wasn’t so cool in the ice cold Canadian winter weather, at least for me.  And the price was right, a fraction of the cost of my other Leica 50mms.

In the beginning, I just liked the idea of the Summitar, a Cold War-era diamond in the rough.  It’s a little overlooked in the Leica lore between other more famous lenses and looks like a cross between Steampunk and early Space Race, with its solid brass collapsible construction and odd conical hood that looks like it could be made from the same material as the nose cone of a high altitude reconnaissance plane.  LTM lenses are easily adapted to an M mount camera and once I put it on my M3, I was taken with the compact collapsible design which allows the fully assembled camera to slide nicely into a coat pocket — the world’s best pocket camera…

Oh, and roll after roll, the photos came back looking great!

Between ease of use and consistently great results, 5cm Summitar became my default lens for shooting on the streets of NYC.  It is the lens on which I became truly at home on the M3, and where I developed my current style of shooting.  Before long, the Summicron and Summilux were mainly used for special situations, like super close up shots with the Summicron’s Dual Range attachment, or low light situations with the ‘Lux.

That Summitar was the first Leica lens that I truly fell in love with!

$$ – 1957 Summarit (made by Taylor Hobson for Leitz) f1.5

FRIENDS, Leica M3, Leitz (by Taylor Hobson) Summarit 50mm f1.5, Ilford Delta 100

Having developed a penchant for vintage lenses, I started to look into other makes and models that might be interesting to try, particularly from Leica’s chief rival in the 35mm range finder market, Zeiss. I spent a week or so doing a deep R&D dive into a Cold War era Zeiss Biotar 75mm f1.5 lens (in)famous for its wild, swirly and bubbly bokeh.  In theory, I liked the idea of a fast 75mm that would give me something different from what I already had, a longer ‘portrait’ lens that would be good in low light.  But the Biotar was pretty pricey and collectible, attracting people who want that quirky look for influencer videos.  Hamish also tipped me off about some challenges adapting the Biotar to an M, and gave me some wise advice, ‘Quirky and cheap is fine, but I’m not sure quirky and expensive is a good idea.’ I decided to steer away.

We also talked about the Leica Summarit f1.5, which is known on the Leica roster for being the life of the bokeh party, but a much safer choice than the Biotar in Hamish’s opinion.  But I wasn’t really thinking I needed yet another 50mm.  That was until I came across a very nice looking Summarit at one of the big NYC camera stores for a pretty decent price.  It was Christmas season, and it felt like a good way to kick things off with a bit of a self-present.  Ok, while I don’t think I have GAS (Gear Acquisition Syndrome) when it comes to collecting cameras, I guess I do when it comes to 50mm lenses!

I understand that the Summarit’s lively bokeh is not everyone’s cup of tea, but it has a very different look and feel from any of my other lenses.  To go with the bokeh, it’s lower contrast and a bit softer wide open, all of which contribute to a very vintage ‘lost film’ vibe.   I’ve been having a blast with it!

And then there were four.

At least for now…

In terms of methodology for the “Goldilocks Challenge”, most important was that I wanted to compare the lenses in “live” shooting situations, using them the way I’d be using them on any other day.  That means out and about mixing with people on the streets of NYC.  And one of my favorite spots for that kind of shooting is Washington Square Park in the heart of Greenwich Village, which is a magnet for all kinds of fun people doing fun things.

IAN, Leica M3, Leitz Summicron 50mm f2, Ilford Delta 100

I wanted to match the quality and conditions as best I could between all four lenses, so I decided to shoot everything on the same emulsion – Ilford Delta 100.  I chose a slower ISO stock because I wanted to shoot a range of f stops from f8, where most lenses perform at their best, to wide open where the real character and ‘personality’ of a lens is revealed.   Late afternoon into dusk is my favorite time for shooting, and also the perfect time to roll through the widening apertures.

PICTUREMAN BOB, Leica M3, Leitz Summitar 50mm f2, Ilford Delta 100

I knew I would have gotten deep in the weeds trying to do all four lenses at one time, so I decided to shoot the lenses in pairs, side-by-side with two cameras so I could see how the lenses looked in more or less matching shots.   After some internal deliberation, I decided it made sense to match up the maximum apertures, so it would be Summilux vs Summarit in one session and Summicron vs Summitar in the other.

COOLCREEPERG1, Leica M3, Leitz Summilux 50mm f1.4 ASPH, Ilford Delta 100

While I enjoyed the thought exercise of coming up with the methodology for doing these lens comparisons, once I had settled on a plan, I ended up hesitating for a couple of weeks.  In part, I was waiting for the weather, but also I was feeling anxious about asking people to sit for me while I shoot more or less identical photographs of them with two different cameras.  It felt a little self-indulgent.  When I did that kind of A/B side-by-side shooting on my B&W emulsion tests, at that stage of my development in the spring/summer of 2025, I was shooting mostly inanimate subjects on a stationary tripod, and it was easy to swap backs on my Hasselblad 500CM.  Given where I’ve gone in the last seven or eight months since then, that approach wasn’t going tell me what I needed/wanted to know about how I was going to use my Leica 50mm’s in 2026 +.  I had to do the tests out and about with live people as my subjects!

ALAN, Leica M3, Leitz Summarit 50mm f1.5, Ilford Delta 100

I toyed with different ideas for shooting a single camera and swapping lenses to avoid asking people for repeated parallel shots, but nothing seemed like it would be as informative as getting two ‘live’ shots as close to each other as I could by swinging a camera strap on each shoulder. 

POSE, 2/28/26, Leica M3 Summicron 50mm f2,  Ilford Delta 400
POSE, 2/28/26, Leica M3, Leitz Summitar 50mm f2, Ilford Delta 100

Then toward the end of February, I had plans to be in NYC for a couple of days with matching forecasts of sunny and unseasonably warm weather.  I knew that people would be coming out to enjoy the weather and thought it would make for some fun shooting, and I could try out all four lenses in pretty similar conditions over two consecutive afternoons. 

So if I was ever going to do it, that was as good a window as I was going to find.

I wasn’t disappointed!

STREET PARTY, Leica M3, Leitz Summitar 50mm f2,  Ilford Delta 100

Stay tuned for the next installment in the “Goldilocks Leica Lens Challenge” — Summarit f1.5 vs. Summilux f1.4 ASPH!

Feature Image:  NOLA SUPERSTAR,  Leica M3, Leitz Summicron 50mm f2, Ilford Delta 100

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About The Author

By Scott Ferguson
Scott Ferguson is an independent film and television producer known for such films as Brokeback Mountain, Only Lovers Left Alive and The People vs. Larry Flynt, and the television shows The Night Of and Succession. While working around cameras and recorded images for his entire career, shooting still photography with vintage all manual cameras is a new and very stimulating passion.
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Comments

David Hill on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

An interesting article, thank you. Are you familiar with the article by Erwin Puts "Leica M-Lenses, their soul and secrets" from September 2002? If not you might find it interesting.

I am doing a similar, much smaller, exercise, comparing my 1985 50mm f2 Summicron M with my 1942 5cm f3.5 Elmar (+ adapter); and my 1954 Summaron 35cm f3.5 with a modern Voigtlander Nokton VM MV II. I am using a range of subjects and lighting conditions, but unfortunately most of the shots are still in camera! I do like the results the old Elmar gives with my IIIc and am interested to see the difference with the Summicron.
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Scott Ferguson replied:

Comment posted: 06/04/2026

Hey David, Thanks for the tip on Erwin's article, I will have to check it out. I'll be very interested to see the results of your lens comparisons. I'm interested in the 5cm Elmar, which is another classic of the Leica line, but fear I might feel limited by the maximum aperture for the kind of shooting I do which is almost always handheld and a bit spontaneous -- but people shot amazing images that way with f3.5 lenses, so I guess it's a matter of learning how to use them, and we have faster film stocks now than they did back in the Barnack years. I look forward to seeing what comes out of camera!

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Charles Young on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

Scott: Thanks for sharing your photos. Your great skill is about PEOPLE, not lenses, thank goodness.
I have two Leicas which I was able to acquire a bargains, but I am also fond of my Russian cameras. Fed 2, Fed 3, Lubitel.
As you know, NONE NEED BATTERIES. Latest is a Kodak Pony 135 from about 1955 which looks brand new.
Chuck
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Scott Ferguson replied:

Comment posted: 06/04/2026

Thanks for the kind words, Charles. Yes, while I do think I've raised my levels over the last year or so by shooting a lot, learning from my fellow photographers, either by looking at their photos or picking their brains, I think the biggest learning curve has been how to engage with the people I'm shooting, which is a lot of fun and has made my photos better and better, even as I also get better at exposure and focus and lighting. I'll be excited to see what you shoot with the Pony. My first camera was a hand me down 1950's era Kodak Medalist II, which was a giant heavy "American Metal" beast of a medium format camera, but had a really beautiful Ektar lens that was sharp and had great contrast, an artifact from the time that Kodak was still competing with the big European & Japanese camera companies.

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Michael on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

Thanks for sharing your work. Nice mix of unique headshots and environmental portraits.
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Scott Ferguson replied:

Comment posted: 06/04/2026

Thanks Michael!

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David Pauley on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

I love these photos, Scott! The comfort you've developed with your subjects is palpable and really comes through in the photos. "Friends"' is my favorite—there's a tenderness and and ambiguity that speak to me—though they are all strong. As for the lenses I'm excited to read more about the ongoing project. The Summarit here shines, though the Summilux's cooler vibe works very well with Siri/Sere, another knockout frame. Thanks so much for sharing these.
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Scott Ferguson replied:

Comment posted: 06/04/2026

Thanks David! Yes, I really liked "Friends" through the finder and would have happily done a series with those two guys, who had a very cool look and attitude. But that attitude extended to their willingness to sit for photos and I was nonverbally but quite clearly 'dismissed' after that single frame by the fellow who is standing above his friend, so I had to make do with the one shot I got of them, one of the best of the day. And I agree that shot of Sire/Siri on the Summilux is a 'keeper', and has kind of made me start to rethink the potential of the Summilux after light use for the better part of a year. I do think I need to figure out how to avoid/diminish that digital vibe, either by choice of film stocks or by learning what kind of light and subjects take advantage of its considerable strengths and virtues. I thought the Summilux portrait of Coolcreeperg1 shot in late afternoon light more wide open manages to have a pleasing film look while being pretty sharp and detailed. More to follow in the upcoming installments!

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Russ Rosener on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

Interesting journey. My 50mm Leitz experiences started with a F2 collapsible Summicron attached to a Leica IIIf body in 1986! Loved that lens and camera. Ken Rockwell is well know for hyperbole. The Summitar is without a doubt the most charismatic 50mm Leitz ever made. It stays attached to my M3 too. The bokeh of that lens has a unique quality not seen seen in anything else. Ace Leica mechanic Sherry Krauter confirmed my opinion.
My advice is give Tri-X another chance. Better to understand why the film doesn't look the way you want than switching out. Unlike digital film is more like baking good bread. You have to get a "feel" for the right developer and time combination. For me it's Tri-X in D-76 straight. You can do almost anything with that combo. Also have a look at the Zeiss Sonnars made in LTM. Their F1.5 50mm Sonnar is genius! It blows the Summarit out of the water. I have a deep dislike and disappointment with the Summarit lens.
Try to get the Jena versions of Zeiss Sonnars. The older the better. The Schneider Xenon F/2 is stellar as well. Keep having fun! So great to see these spontaneous portraits.
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Scott Ferguson replied:

Comment posted: 06/04/2026

Hey Russ, Thanks so much! Yes, the Summitar is a really special lens, I like the term "charismatic"! And I first learned about the Summitar from Sherry Krauter when I visited her at her 'shop', which is about an hour from my house. Her other faves are the 35mm Summaron f2.8, which I already had at the time in a 'goggle' version for the M3, and the 90mm Elmarit f2.8, rigid, which I picked up for a very nice price. The Summarit seems a little like optical 'cilantro', some people seems to like it, including me, and many others simply do not have a taste for it, which I respect. I love your tips on the Zeiss Sonnars and the Schneider Xenon. While I'm not in a rush to acquire even more 50mm's, I do find the idea of trying out a vintage Zeiss lens something I'd be very interested in. I'm also curious if you have any favorite 35mm's? I really like the Summaron, but I'm no longer in love with the 'goggles' which dim the viewfinder more than I'd like, and I tend to like to frame with an external finder on the M3, so don't really need them for the rangefinder window. Many thanks, Russ!

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Eric Rose on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

I love your environmental people portraits! You must be a super nice guy to enable all these people to be so relaxed in front of your camera. Maybe it's me since no one else has mentioned it, however it appears to me at least that the calibration on our camera(s) might be a bit out. The focus seems to generally fall about three to four inches behind where I think you must be focusing. It's probably just me, but thought I would mention it. Maybe you are zone focusing ....

Eric

Eric
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Scott Ferguson replied:

Comment posted: 06/04/2026

Hey Eric, Interesting re focus -- I might see that in a couple of shots where the shoulder might be a tad sharper than the face, but not all. I have two bodies, and I think I might try to see if the issue relates consistently to the same body. I could also shoot some focus tests with both bodies to be doubly sure. I had a similar backfocus issue on my Hasselblad 500CM that took me a long time to figure out because I thought I was just screwing up, but it was actually a tricky to solve hardware issue and I ended up getting a later model 503CW body that is much more consistently pin sharp. I don't usually zone focus when shooting that close up with a 50mm, especially at lower apertures. I have been teaching myself how to engage with people while shooting them, something I learned from Jamel Shabazz a titan of NYC street portraiture. You will see more on that subject in the next installment!

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Gary Smith on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

My only significant brush with portraits was during an "other duties as required" work assignment where I was asked/told I would be shooting everyone in the company for their Outlook ID photos. Other than that, my wife routinely doesn't like my photos of her and the two portraits of my little brothers using my brand-new Canon FTb in 1972 are a bit over-exposed (at least the prints I made are).

You on the other hand thrive taking portraits!
m
My only Leitz 5cm is the collapsible Summicron in LTM for my iiic. The 50 I have for the M3 is a TTArtisan for which I also have an adapter so it can be used on my Sony a7R3.

Brilliant photos Scott! I love the several taken of NOLA SUPERSTAR!
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Scott Ferguson replied:

Comment posted: 06/04/2026

Thanks Gary! I have been really working on these kinds of 'high engagement' street portraits as more or less my main 'lane' for shooting in and around NYC over the last year or so, and I've been pretty happy with my learning curve both in terms of the technical qualities of the photos, but even more with getting more comfortable and connected to my subjects. It's been quite fun. Some people really love the camera, and NOLA SUPERSTAR was exceptional on that front, she has a real vibrant persona and infectious enthusiasm. I hope I run into her again out and about, as she has a pretty unique energy that translates quite nicely on film.

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Erik Brammer on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

Wonderful portraits, Scott!
Thanks for this article which I certainly will want to forget quickly and never read again for my bank account’s sake. :-)
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Scott Ferguson replied:

Comment posted: 06/04/2026

Ha! I think you might be surprised at some of the bargains you can find if you shop on the vintage end of the Leica catalogue. My Summitar was under $300, as was my 90mm Elmarit, and the Summarit wasn't all that much more. So far I've only purchased one contemporary lens that is still being made in the same version by Leica, the Summilux. I think I'm more of a fan of the vintage look and personality that tends to bring out the film look and is a little more within reach $-wise. Of course, there's also some other great lenses that don't command quite the same $ premium that a genuine Leica will, and I've seen lots of cools posts trying out those lenses and cameras here on 35mmc.

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Erik Brammer replied:

Comment posted: 06/04/2026

Thank you for the “encouragement”, Scott! :-) I am a happy user of the Summicron 50 DR and also purchased the close focus adapter for it. Then, based on quite a few reviews including from our friend Hamish here, I added the Zeiss C-Sonnar. This must do - if there weren’t that itch for a collapsible… Please do post more articles here, they are always a joy!

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Scott Ferguson replied:

Comment posted: 06/04/2026

I've been hearing a lot about the Zeiss Sonnar's and maybe that would be a good non Leica lens to check out! What collapsible are you thinking of?

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Erik Brammer replied:

Comment posted: 06/04/2026

I was thinking about a Hector just because - I admit - Sally Mann is now tinkering with it on a digital Leica. But quite expensive and typically in a fairly bad shape. I will investigate the Elmar 2.8 or even the old Elmar 3.5, but that idea is so fresh in my mind that it will take time. No rush.

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Scott Ferguson replied:

Comment posted: 06/04/2026

Interesting, I will be interested to hear what you end up doing. I have to confess being intrigued by the 'classic' Elmar 3.5, but might be more intrigued by seeing how I like a Sonnar. I love the Zeiss glass on my Hasselblad, but it's completely different in terms of 'personality' than my 35mm lenses, so I'm intrigued to see how the Sonnars look with the M3. But no hurry on my part either, I have plenty to learn with the lenses I have!

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Erik Brammer replied:

Comment posted: 06/04/2026

When say how the Sonnar looks on the M3 do you refer to the appearance of the camera and lens, or do you mean the look of the resulting photographs? For the former, I’ll be happy to send you a picture of the combo. :-) I am having my eye on an Elmar 50/3.5 from 1932 and one from 1936, the latter being a lot less pricey. Let’s see where time will take me.

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Scott Ferguson replied:

Comment posted: 06/04/2026

I meant the photos! But happy to see how the camera and lens look!

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Erik Brammer replied:

Comment posted: 06/04/2026

Happy to send you some if you want to ping me through my blog at einefragederzeit.de Or email me at erik dot brammer at me dot com

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Scott Ferguson replied:

Comment posted: 06/04/2026

Thanks, Eric! Stand by, I'll reach out.

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Jeffrey J Luhn on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 06/04/2026

Hey Scott,
There are some great photos there! I don't see any difference on my screen, but prints would likely reveal more. You certainly get people to collaborate with you. That's fun!
I think some lenses and camera bodies have an undefinable mojo. I cannot take a bad photo with my Rolleicord, Zeiss Contessa, or Mamiya 645N. I cannot take a good photo with my Leica IIIf with a Summicron 50mm. I'm going to sell that Leica to someone who wants to use it, because I give up. Nothing wrong with it mechanically, but it just doesn't speak to me.
Some personal preference between your lenses will bubble up and then you can thin out your collection, or take them out for a spin in rotation. One thing about Leica stuff: You can always get out with what you put in. So using it is basically free.
Jeffery
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Scott Ferguson replied:

Comment posted: 06/04/2026

Hey Jeffery, Interesting -- I see differences in these images, especially between the Summilux and Summarit, but I might be hyper attentive and/or oversteering. The Summicron and Summitar are harder as they are much closer to each other in age and coating and lens making technology in the post WW2/Cold War era, but I feel like I see enough between them to have a preference, which I'm not giving away until the final installment. I'll be interested if they still all look the same to you on the subsequent posts where I kind of roll through the aperture settings from f8 to wide open. I'm intrigued by the cameras that "fit" us as individual photographers. I feel the same way about my M3 and Hasselblad, and didn't warm to my brief tryout with the iiif or a Rolleiflex f3.5, or the Contax G2, which was an earlier attempt to get into film still photographer that ultimately didn't take. All great cameras, but none of them had the "Goldilocks" just right fit for me. Thanks so much and I look forward to your thoughts on the upcoming installments!

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Jonathan Leavitt on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

Very interesting subject for those who have gone down that same rabbit hole. I look forward to reading the sequels and can also point you to the Leica Compendium, the magnum opus by Erwin Puts that goes beyond his "Souls and Secrets" publication. Of course it's not ultimately about the lenses, and in the hands of a good photographer it's the ability to connect with people and places that matters most. You seem to have that talent in abundance.

During Covid I collected some 130 optically different lenses for the Leica M, half of which are 50mm, not fully realizing that I was stuck at home and bored. Don't have that Summarit made by Taylor Hobson though, I must check it out. I take out one lens at a time to see what I can do with it. Of course there really is no answer to the eternal question, "What is the best lens". You need to have something to say.
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Scott Ferguson replied:

Comment posted: 07/04/2026

Hey Jonathan, I'll have to check out Erwin Puts' writings on Leica optics, you are the second reader to mention him. I really appreciate the kind words and glad you like the photos! Ultimately I agree that the most important equipment is the wetware on my side of the viewfinder, but I do have fun looking and the fine margins between these various lenses -- and I am finding that I appreciate them all for their various strengths and occasional weaknesses. Wow, 130 M mount lenses? I thought I liked a rabbit hole! I'll be curious what you think of the Summarit 1.5, I've found it to be an opinion divider, with very some smart and sophisticated photographers I respect hating it, and others loving it. I'm a fan, but still need to settle in to the best ways and times to use it to get the most out of it. Cheers, s

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Jeffery Luhn replied:

Comment posted: 07/04/2026

Jonathan, 130 lenses! Let me ask a question: The Summicron 50mm I have has a light spot in the exact center on the front element. The UV filter has the same small dot in the same exact place. Neither one appears on the images, even at f/16. Have you seen this on any lens? Jeffery

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Jonathan Leavitt replied:

Comment posted: 07/04/2026

No that's a new one on me. Does the filter touch the lens when you screw it all the way down? My Summicron 50 is out on loan but I'm pretty sure it doesn't have anything like that.

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Jonathan Leavitt replied:

Comment posted: 07/04/2026

PS are you sure it was made by Taylor Hobson and not by Schneider?

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Scott Ferguson replied:

Comment posted: 07/04/2026

All of the literature I've read says that the Summarit was made in the UK by Taylor Hobson. I have a 1958 21mm Super Angulon that was made by Schneider under a similar licensing deal, and while being made at pretty much the same time, those two lenses have very different looks and feels. The Super Angulon is made out of polished shiny 'chromed' brass, but has a 39mm filter ring, unusual for a lens that wide, but great because it's fits all of my other filters. The Summarit has a more anodized brass surface, and has an odd 41mm size and takes strange cup shaped 'pop on' filters and a unique rectangular hood that doesn't fit any of my other 50mms. I've read that Leica was more focused on their cameras than their lenses in that era, so maybe it's not surprising that they had a couple of those kinds of arrangements for lenses that weren't in their wheelhouse either for focal length or maximum aperture. I look forward to hearing what you think if you try one out, but I don't know that I think you need any more lenses!

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Tony Warren on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

I don't think I am in a position to comment really. I only own one Leitz lens and that the least vaunted, the modest 90/f4 Elmar. Nevertheless, that lens has a smooth, velvety gradation and sharp without being wiry that I admire. The only one that strikes me with those characteristics is the 1957 Summarit. The other results are more than acceptable, the back lit portrait made with the 1949 Summitar in particular exemply for such an early lens. Interesting experiment.
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Scott Ferguson replied:

Comment posted: 07/04/2026

Is that the collapsible 90mm Elmar? I got one of those with the original M2 my son was gifted, but it had a lot of internal haze and the photos looked a bit muted. I think those are good lenses though, and it sounds like you have a good one! Which backlit Summarit portrait? Isack or Pictureman Bob? I like them both. Stay tuned for the next installments!

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Tony Warren replied:

Comment posted: 07/04/2026

My 90 is a rigid version. I wrote about earlier in "Pinch of Salt". It is the Isack shot I was referring to, no flare at all.

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Scott Ferguson replied:

Comment posted: 07/04/2026

Yes! I remember that post and your "Another good joke" shot was a favorite. I rarely use my 90mm rigid 2.8, I've tried once or twice using it as a portrait lens, but I didn't think the portraits looked dramatically better than what I shoot on one of my 50mm enough to justify the increased weight and bulk of adding that lens & hood to my camera bag. I get more use out of my 35mm and even my 21mm, which is fun for some landscapes and interiors in tight quarters, but I'm most at home with a 50mm. Yes, I was very happy with that shot of Isack and had a good feeling through the finder that came through on the scan. thanks Tony, s

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CHRISTOF RAMPITSCH on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

The thing is though, I suspect your photos are just simply Good (I mean really good) and would likely have been just as good taken with another camera? (Obviously with a good, well-made other camera!) Still, I concede that if a particular camera or lens increases the joy of the process then the $$$$ is worth it.
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Scott Ferguson replied:

Comment posted: 07/04/2026

Wow! Thank you so much, Christof! I really appreciate the kind words about the photos. I think I need more time than I have to answer your very interesting question this minute as the light is getting good and I want to take the caemra out, so I might come back to you later to talk about my thoughts on the relationship of a particular camera or lens to the quality of the photographic output. It's a very interesting question to me. Cheers, s

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Scott Ferguson replied:

Comment posted: 07/04/2026

Ok, so here are some thoughts on the impact of camera hardware on the creative process of making photographs, all anecdotal based on my personal experience. I've tried a decent number of cameras over the years going back to my teenage years using 1950's era hand-me-downs from my father, and until I got the Leica and the Hasselblad, there was a pattern that started with early enthusiasm after I got a camera, but eventually tailing off when my results didn't improve until they fell out of use. I think one of the problems is that as cameras were getting more and more automated, I was letting the "auto" features do the thinking and I wasn't learning how to make my photos better, and I got frustrated, this was definitely true of the last film camera I tried before the Leica and Hasselblad came into my life unexpectedly via a fortuitous gift to my son. I have to say that the glamorous reputation of those particular cameras has undoubtedly been a factor in my enthusiasm and willingness to push deep enough into them to actually learn and understand how to use them, but I also think there is something about their design and engineering that 'works' for me as a photographer that hasn't worked for me with prior cameras, or others that I've tried since getting the M and the 'blad, including a Rolleiflex that I tried out for a month or so, and a Leica R6.2 SLR -- in both cases I didn't really respond to the user experience compared to the cameras that I had become used to. A lot of this had to do with the viewfinders, I think. I think I'm by nature more at home with a range finder than an SLR, and while the waistlever finder on the Rollei is kind of close to the waist level finder on the 'blad, I didn't take to the vertical geometry of the Rollei, and missed the modular aspects of the 'blad, especially interchangeable lenses. I wrote a bit about how I felt shooting the Leica R vs. the M on a post that was an earlier version of comparing the R and M lenses that turned into a post comparing the viewfinders. https://www.35mmc.com/27/10/2025/leica-vs-leica-comparing-leica-m-and-leica-r-cameras-and-lenses/ All that being said, now that I've learned how to shoot on an all manual M, I think you are probably right that I would probably be able to get strong photos out of another well made camera that might not be at the premium place in the market as a Leica (or a Hasselblad) but I'd probably be looking for a rangefinder or a MF SLR. I'd probably be interested in trying out a German era Contax with the famous Zeiss Sonnar lenses, which I think would be considered a peer of the Leica when they were made, but don't command nearly the same premium on the 2nd hand market now for a variety of reasons. I've also seen people who like shooting Canon rangefinders, and there are the Russian Leica knock offs like the Zorki that might be interesting to try at a friendly price point. And to the degree that I've kind of gone into the Leica ecosystem, other than the Summilux, most of the lenses I've gotten along the way are on the older and lower end of the price points for genuine Leicas, and I'm kind of happy to see that I'm getting very nice photos with a 77 year old lens I picked up for $280 that stand up very well against photos I'm shooting with my one current model Summillux, so in some ways, I think I'm proving your point while staying within the Leica brand for now. Speaking of different formats and viewfinding systems, I'm very interested in your work on large format cameras. I've never tried one -- I think framing upside down and backwards would probably blow my mind, as would taking all of that time and preparation for a single set up. The experience looks very different in every way that the kinds of ways I've ended up shooting, which almost always tends to be handheld and kind of spontaneous -- trying to catch a telling moment by 'feel' but also grabbing multiple frames to catch different angles and different moments in time. Often my compositions need a little work in post to level the image and or reduce the headroom or shift the frame a bit because I sometimes shoot something as I'm focusing and the subject ends up dead center when I think the emotional content feels right. I hope that answers your comment/question. But I'm truly honored that you like my photos, it means a lot! Best, s

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CHRISTOF RAMPITSCH replied:

Comment posted: 07/04/2026

Thanks for the detailed response! I fully agree that a camera has to 'fit' you somehow. When I was a student (at UBC) I was in the photoclub there and watched several members continually chase the perfect camera - luckily I was too poor for this at the time, and was forced to get the best out of my Canon A1 that my dad had gifted me. I still have it, and optically, with the 50/1.4 SSC lens it's a fine performer. I'm sure I would get a lot of joy from a Leica also, but these days I am drawn to LF. I encourage you to try it. It's very addictive!

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Scott Ferguson replied:

Comment posted: 07/04/2026

Yes, the 'fit' is mysterious, but critical. I tried a variety of cameras over the years before the Leica and Hasselblad landed in my lap and got me fully immersed, and I've also tried a number of other cameras since, including the Leica R SLR, Rolleiflex, a digital Monchrom and an M10 and a Sony A7Riii, and while I'd probably happily shoot with any of them, none of them tempted me to buy another camera -- I feel very comfortable with an M for 35mm and the 'blad for MF, and feel very little urge to have alternatives in those formats at this stage. Lenses are another story for me, as they impact the image in a creative way in terms of the look of the image in a way that a camera body doesn't really. In terms of cameras, my theory is that the viewfinder is probably the most critical component in terms of fit and where the 'wetware' of the human eye and brain interact with the hardware of the camera, and that's where the M system really works for me compared to other 35mm cameras I've tried, and where I think the Hasselblad is stronger than any other MF cameras I've tried. They both also have brilliant lenses, but the finder is where a good photo lives or dies. I would love to shadow someone shooting LF before I get into actually attempting it myself. I still have so much to learn about 35mm and MF that I'm not sure I'm ready for another system.

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CHRISTOF RAMPITSCH replied:

Comment posted: 07/04/2026

Well... if you're ever in Winnipeg I'm always open to be shadowed!

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Scott Ferguson replied:

Comment posted: 07/04/2026

Sweet! I have spent a good bit of time in Calgary on a couple of film & tv projects, but haven't made it to Winnipeg. I'll let you know. And if you find yourself in NYC, let's do some street shooting! I can lend you one of my M3's!

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Alexander Seidler on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

Hi Scott, i am not at all a Leica fan or portrait photographer, but this very interesting though.
And your shots are beautiful !
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Scott Ferguson replied:

Comment posted: 07/04/2026

I really appreciate that, Alexander! Especially since it sounds like we have different interests both in terms of gear and subject matter. Thank you!

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Jonathan Leavitt on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

It’s impossible to spend as much time as we do with lenses and cameras and not develop an affection for them, even if ultimately it’s not about the tools!

If you like the Summarit F1.5 I wouldn’t want to change your mind, but it’s not the kind of lens that appeals to me. Although I love dreamy rendering, whatever that means, I don’t care for low contrast across the entire frame, and nearly all spherical lens designs turn foggy at apertures larger than F2, as though the additional light that comes in between F2 and F1.4 spreads across the entire frame rather than being focused on a point. Many of those lenses sharpen right up if you stop down even a little, but the Summarit stays that way for a while. On the other hand, if that soft rendering appeals to you, I would stick with it. The search for the primitive in art, if you want to call it that, is as respectable as the search for perfection.
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Scott Ferguson replied:

Comment posted: 07/04/2026

Hey Jonathan, Warning -- Goldilocks Challenge spoilers here, stop reading if you prefer to learn some of these ideas in part 2 +. As frequent, but not exclusively, portrait shooter, I have mixed feelings about the Summarit. I struggle a bit with the softness when I'm shooting close ups at lower apertures, and will probably start to steer away from that kind of shot with that lens in favor of the Summilux. But I kind of like the way it works in low light for things like cityscapes or architecture as it gives a bit more of an impressionistic feel than the crisp details of the Lux, and I think I'd like it for things like performance shots like dance or some musical artists. But for portraits in the middle range of the aperture dial, like f5.6-f8 where the softness is less of an issue, I'm coming to like the lower contrast look, as I think it give more subtlety and nuance in the skin tones, so I may even prefer it to the more modern contrasty look of the Lux.

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Jonathan Leavitt replied:

Comment posted: 07/04/2026

I can totally see that it makes sense for portraits. A lot of people really don’t want to see every pore. I know a photographer who shoots with an ultra-sharp lens and then manually deletes every pore in Photoshop. It takes hours. You might find it interesting to read two articles I published in 35mmc, one about the MS-Optics ISM and another called “The Search for the Primitive“ about a single element Kodak plastic lens. I’m working on a few more ideas for the “Search for the Primitive“ topic.

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Scott Ferguson replied:

Comment posted: 07/04/2026

Hi Jonathan, Thanks for the tips on those very interesting posts of yours. I remember your post on the MS Optics lens and thought the photos were really strong and interesting. I hadn't seen the Search for the Primitive post until just now and find it very interesting. I have an interesting relationship to technical perfection and polish in many art forms, from music to cinema to literature, and of course, photography. I tend to like things that prioritize energy, authenticity and emotion over pristine detailed technical 'perfection'. I don't want my photos to be poorly exposed or unintentionally out of focus, but sometimes if an image of mine feels too conventionally perfect/'commercial' I find it less interesting than something that has interesting grain, bokeh, deeper shadows or brighter highlights. My terms for those kinds of photos is "Expressionistic" which mignt have some resonance or overlap with your use of the idea of "Primitive". But I think to get to the artful use of the expressionistic, I still need to master the classic techniques and be able to deliver technically advanced photos and then make any deviations from that as a creative choice as opposed to a happy accident, which was the case for many/most/all of my early favorite photos of this type. I look forward to your upcoming posts on a very interesting subject. Thanks, s

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Graham Line on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 07/04/2026

What a well-described and well-illustrated comparison! Many good ideas and observations. My experience with a wide range of M lenses is limited, but there is no way to go wrong with the Mandler M-Summicron family. The earlier collapsible version drove me batty in actual use. A "50" you did not mention is the 40mm M-Rokkor which gives a great, bright rendition and works well wide open or stopped down. For me, Erwin Puts can be laborious reading but is generally worth the effort.
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Scott Ferguson replied:

Comment posted: 07/04/2026

Thanks Graham! I won't give away my ratings of the four lenses until the final installment, but they are all terrific. I've heard great things about the 40mm Rokkor that I think was kind of standard on that Minolta/Leica joint venture on the CL. I hadn't thought of getting a 40, as I have a 35mm (the Summaron 2.8 with goggles) but I have heard really great things about that lens. I haven't tried a collapsible Summicron, but I like the collapsible Summitar quite a bit both in terms of the compactness for pocketing and for the results. I'll have to check Erwin Puts out!

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Geoff Chaplin on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 08/04/2026

But you missed the best two - f3.5 Elmar and the Summar!
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Scott Ferguson replied:

Comment posted: 08/04/2026

Ha! There's still time...

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John Eaton on Leica 50mm Lenses – The “Goldilocks Leica Lens Challenge” – Introduction

Comment posted: 08/04/2026

Hi Scott. Many thanks for such an interesting and insightful piece -- looking forward to the next installment!! And your photos are excellent!!! -- obviously you have great skills and empathy with people, which I don't think has as much to do with the lens you're using as with the person behind it -- Congratulations!
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Scott Ferguson replied:

Comment posted: 08/04/2026

Thanks John! I've been quite gratified by all of the love that has been coming about the photos from this post, and I do feel a nice sense of progress from my earliest days of trying to street shoot in NYC furtively from a distance. As I said, the most important place to improve my photography has always been on my side of the viewfinder! Being comfortable moving in and shooting closer, while getting better at exposure and hitting focus at those narrow depths of field has been a slow and steady march, but the rewards are wonderful when you get something that has that intimate feel, all made possible by learning to engage with people and get them (and myself) to relax. I still have plenty of room to grow! Cheers, s

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