Leica Summilux-M 50mm f/1.4 II

Leica Summilux-M 50mm f/1.4 II

Among Leica's fast standard lenses, the second version of the 50mm Summilux is notable less for change than for endurance, remaining in the catalogue for decades after its introduction. It replaced the original 1959 Summilux design with a reworked optical layout credited to Walter Mandler, and it became the everyday fast fifty for a generation of Leica photographers [1][2]. The chrome-plated brass example carrying model number 11114 is the silver-finished member of this family, sitting alongside its black-finished sibling, model number 11113 [2].

Optically the lens uses seven elements arranged in five groups, with the maximum aperture of f/1.4 set by a twelve-blade diaphragm and a closest focus of one metre [2]. In Mandler's revision the second and third elements were left separate while the sixth and seventh were cemented, a rearrangement of the earlier formula rather than a wholesale redesign [1][2]. The lens couples to the rangefinder and mounts on the Leica M bayonet, and the chrome brass version is the heavier of the two finishes at around 360 grams against roughly 275 grams for the black anodised aluminium variant [2]. Both finishes use a knurled focusing ring and a 43mm filter thread, and the silver build gives the lens its solid, traditional feel in the hand [2].

This version is sometimes called the E43, after its 43mm filter size, to separate it from the later 46mm filter version [3]. Leica did not formally acknowledge the Mandler redesign in its catalogues until 1968, and the basic configuration then ran on with minor updates until a more significant 1992 revision that switched to a 46mm filter, replaced the clip-on hood with a built-in telescoping shade and shortened the minimum focus to 0.7 metres, a variant usually identified as the third version [2]. Because the optical design carried through largely unchanged, the lens became one of the longest-running designs Leica produced [2]. Buyers distinguishing the chrome brass 11114 should note its weight and silver finish relative to the lighter black 11113, and confirm the 43mm filter size and knurled focusing ring as period-correct features [2][3].

Optical qualities

Rendering The second-version Summilux is associated with the so-called Leica or Mandler look, a wide-open character that combines usable sharpness with a gentle rendering of out-of-focus areas [3]. Reviewers who have used the lens report that it can be sharp at f/1.4, contradicting the common claim that it is uniformly soft or glowing at full aperture, while still producing a distinctive bokeh that gives images character [3]. The lens is also known to flare in strong light, a trait some photographers deliberately use creatively [3]. Detailed, standardised optical measurements are not consolidated here, so these notes reflect documented user observation rather than laboratory data.

History

Development and Launch The original 50mm Summilux was made between 1959 and 1961 and was the successor to the 50mm f/1.5 Summarit, which had been designed by Otto Zimmermann and traced back through the Xenon to a 1930s Taylor and Hobson design [2]. In 1961 the first version was replaced by the second version designed by Walter Mandler, which kept the seven-element, five-group construction but changed which elements were cemented [2]. It was offered in black and chrome finishes and in both M and screw mounts [2].

Production Evolution The second-version layout continued in production for decades, with an update in 1969 and a more substantial change in 1992 that moved from a 43mm to a 46mm filter, swapped the clip-on hood for a telescoping one and reduced the closest focus to 0.7 metres, commonly called the third version [2]. The underlying optical design was retained through these changes, which is why the lens is counted among Leica's longest-lived designs, with on the order of tens of thousands produced across its full run [2].

Special editions No widely documented factory special editions are specific to this version beyond the standard black and chrome finishes carried by model numbers 11113 and 11114 [2]. The design was later honoured in spirit by a modern reissue in Leica's Classic Line, which based its optics on the second-version Summilux rather than reproducing it exactly [1].

Collector Notes Collectors identify this version by its 43mm filter thread and knurled focusing ring, which separate it from both the scalloped-ring original and the later 46mm version [2][3]. Published sources differ slightly on the start year of the second version, with some citing 1961 and others 1962, so a date alone should not be relied on for identification [1][2]. The silver model 11114 is the chrome-plated brass build and is heavier than the black anodised aluminium 11113; weight and finish are useful cross-checks against a seller's description [2]. As with any lens of this age, prospective buyers should inspect the glass for haze and cleaning marks and verify that the finish and hardware are original rather than refinished.

Sources

• [1] Red Dot Forum. Leica Summilux-M 50mm f/1.4: A Classic Reimagined. https://www.reddotforum.com/content/2025/02/leica-summilux-m-50mm-f-1-4-a-classic-reimagined/
• [2] Slack & Co. Leica Classic Summilux 50mm. https://www.slack.co.uk/articles/leica-classic-summilux-50mm.html
• [3] KeithWee Photography. Review of the 1961-1991 Leica Summilux 50mm v2 E43 on the SL2 & M10-R. https://keithwee.com/2024/04/16/review-of-the-1961-1991-leica-summilux-50mm-v2-e43-on-the-sl2-m10-r/