Both versions will be supplied together with a certificate of authenticity in particularly high-quality packaging and will be available from 4 December 2017. is strictly limited to 500 examples, 300 in black paint finish and 200 in silver chrome. The LHSA special edition of the APO-Summicron-M 50 mm f/2 ASPH. These include, for example, a set comprising a silver chrome Leica M6 and three Summicron-M lenses of different focal lengths produced in 1993 and a Leica MP from 2003 finished in a special hammertone lacquer.
![leica 50mm summicron version 3 leica 50mm summicron version 3](https://uploads-ssl.webflow.com/5e8608b9c34110dfe68299a4/5edec305c233e05b94a5cc6f_20171011_181235.jpg)
The cordial collaboration between Leica and the LHSA has a long tradition and has already been the source of a number of special editions in the past. Further engravings are found on the bayonet ring: ‘MADE IN GERMANY’ and the LHSA Logo – both of which are not picked out in colour.
Leica 50mm summicron version 3 serial number#
The special serial number is engraved on the aperture ring and is picked out in black on the silver chrome version and is not coloured on the black paint lens. While the engravings of the distance scale in feet are picked out in red on both versions, the other engravings vary in colour depending on the version of the lens selected: these are in white on the black paint version and black in the case of the silver chrome option. This also applies to the separate lens hood in the style of the nineteen-fifties that is also made of brass. The special edition thus unites the outstanding imaging performance of the current lens – which was the first to be able to fully exploit the contrast and resolution offered by modern digital cameras – with the look of the nineteen-fifties.ĭepending on the choice of colour of the ‘LHSA’ special edition, the outer brass elements of the lens are finished either in black paint or in silver chrome. The appearance of the lens is reminiscent of the Summicron 50 mm f/2 from 1954. The beginning of the celebration of the 50th anniversary in 2018 will be marked by the launch of a special edition of the Leica APO-Summicron-M 50 mm f/2 ASPH. ‘LHSA’: SPECIAL EDITION TO CELEBRATE THE 50TH ANNIVERSARY OF THE ‘THE INTERNATIONAL LEICA SOCIETY’ (LHSA)įor the past 50 years, ‘The International Leica Society’ (LHSA) has dedicated itself to research, the history of Leica and the use of the company’s products. That said.I've been shooting the new Voigtlander 50mm 1.2 for the last few months and it is stellar! $950 brand new.you should give it a shot before dropping $3300 on a used Lux.Additional information can be found on Leica’s website and on. If you can afford it I would get the Lux. The Zeiss is great quality and some might argue close to the equal of the Leica in all but build quality. I currently have a Zeiss Planar f2, it’s a great lens but would love to get a Leica for my M10.Ĭurrently a Cron v5 used goes for 1900 usd and Lux 3300, both in very good condition.Īny input on user experience besides the obvious facts, one is faster and bigger would be greatly appreciated.Īlthough the 50mm Cron is a great lens (I used to own one), if you already own the Zeiss Planar there is little point in selling to buy the Leica. I like to use 50mm as a one lens do it all, but take lots of portraits, especially of my boys. Feels less balanced than the 50/2 v5.Īny recommendations on the above? I am looking for a lens that sharp, contrasty and has a beautiful bokeh.
![leica 50mm summicron version 3 leica 50mm summicron version 3](https://www.kenrockwell.com/leica/images/50mm-f2-m/D3S_8140-1200.jpg)
Sharpness: Hard to see significant differences at f/5.6 and above.Focusing: Can be stiff on the 50/1.4 asph due to the floating element and poor Leica QC.Flare: The 50/1.4 asph is less flare prone than the 50/2 v5.CA: The 50/1.4 asph has less CA than the 50/2 v5.I find that of the 50/1.4 asph a bit too sharp around f/2.8.
Leica 50mm summicron version 3 iso#
No M camera can give clean 6400 let alone 12800 iso for now so f/2 can be too slow in low light especially on moving subjects.