Leica Summilux 50mm reissue review – the revival of a Classic

Introduction

In February 2025, Leica announced the revival of the Summilux-M 50mm ƒ1.4 (version 1) under its Classic Line, a move that reintroduces one of the most iconic lenses in Leica’s lineage.

First introduced in 1959, the Summilux 50mm series has long been much loved and indispensable for its optical excellence and for some versions, their unique character. According to Leica, the original version I produced from 1959 to 1961 when photographed at wide open delivered a rendering that many describe as dreamy and evocative, a look that cemented its reputation among generations of Leica photographers, leading to the choice of this lens for the next member of the classic line.

Though on paper this lens is a reissue of the Summilux 50mm ƒ1.4 version I (1959-1961), what Leica seems to have done goes beyond cosmetic, taking the good parts of the Summilux 50mm versions I, II and III and combining them and dabbing some modern conveniences to the design too.

Let us take a deeper look.

My Review of the Leica Summilux 50mm ƒ1.4 version 2 is here

P.S: For the sake of brevity in my review and if you are keen on the detailed history of the Leica 50mm Summilux lenses, I will recommend you pop by Macfilo’s sharing here.

tl:dr

The Summilux 50mm ƒ1.4 reissue is the 5th lens in Leica’s Classic Line collection, and actually a surprise because personally I did not expect this line to grow so fast.

Leica did not take the easy way out by simply ‘copying’ the old design, and has at the same time ‘re-built’ this the Summilux 50mm ƒ1.4 version 1 lens to modern standards explicitly meant to invoke the vintage Summilux look and feel.

As someone always drawn to lenses that offer both nostalgia and performance, the Summilux-M 50mm ƒ1.4 reissue is compelling because it blends Leica’s nostalgic heritage with practical modern usability.

The Summilux 50mm ƒ1.4 reissue joins the other four Leica Classic Line reissue lenses, comprising of the 28mm Summaron ƒ5.6, the 90mm Thambar ƒ2.2, the 50mm Noctilux ƒ1.2 (my review is here) and the 35mm Summilux ƒ1.4 “steel-rim”

In this review, we’ll explore what Leica has kept, what has been improved, and how it performs out in the field.

Technicalities

While the body design of the reissue follows the version I with a normal scallop, the optical formula of the lens follows that of the version II and III.

Key specs of the Summilux 50mm ƒ1.4 Reissue:

• 50mm focal length for Leica M-mount
• Aperture from ƒ1.4 to ƒ16
• Minimum focusing distance of 0.7 meters, an improvement from the 1.0 meter of previous versions
• 7 elements in 5 groups optical design , similar to the Version II and III formula
• 46mm filter size, with dimensions L45mm and ø58mm
• 12 aperture blades design
• Brass build at 417 grams.

Performance and Handling

What came to my mind first while handling the Summilux 50mm ƒ1.4 reissue was its solid heft. In fact due to the chrome over brass construction, the Summilux 50mm ƒ1.4 reissue is heavier than the Noctilux 50mm ƒ1.2 reissue by approximately 12 grams.

The Summilux 50mm ƒ1.4 reissue is one solidly built lens at 12 grams heavier than the Noctilux 50mm ƒ1.2 reissue.

The body design is very much reminiscent of the classic version I to start, a design decision similar in the other reissue lenses.

An interesting thought is how people associate a good heft with quality while some prefer a lens as light as possible and this is really subjective.

The Summilux 50mm ƒ1.4 reissue handles beautifully. The aperture click stops are perfectly done with just the right amount of tactility, the focus ring is delightfully smooth with the most appropriate amount of resistance.

You might want to use the supplied hood, which is basically the same as the hood on the Noctilux 50mm ƒ1.2 reissue but personally I find this bulky and prefer popping a good quality UV filter on it instead.

Leica claims the Classic Line of M-lenses are unique that they meet the high demands of modern photography without losing any of the original’s character by means of a meticulous process involving technical optimisation and I will give this statement a 85% rating on accuracy (I hope they don’t ban me because of this).

For simplicity, I will now discuss the lens by highlighting four areas where the Reissue excels and four areas to take note of.

What the Summilux 50mm ƒ1.4 Reissue Gets Right

• Classic wide-open rendering & bokeh
  One of the strongest points is the “classic” glow you get at ƒ1.4. The reissue retains the soft, character-rich out-of-focus areas, creaminess in the bokeh, gentle fall-off of sharpness toward the edges when wide open, a really good balance to appreciate the classic Summilux character.

• Sharpness and higher contrast when stopped down
  A bonus is that Leica has applied modern coating techniques and improved glass to ensure that once you close down a stop or two, the lens goes quickly to a modern, sharp and detailed output with improved contrast and less aberration than many vintage copies. In a respect, this is like getting two lenses for the price of one.

• Shorter close focusing distance (0.7 m)
  The classic versions I, II had a 1.0 m minimum focusing distance, with version III debuting a 0.7 m minimum focusing distance. The reissue’s ability to focus to 0.7 m gives you more compositional flexibility, especially for portraits or more intimate subject distances. To me, this is a win even though I seldom go this close for portraits,

• Build quality, aesthetics, tactile feel
  The reissue feels like a carefully crafted object: brass construction, classic finishes, thoughtful details. The focusing throw is long, aperture ring feels satisfying. For those who love the tactile and mechanical aspects of lenses, few makers come close to the build Leica offers.

What to take note of with the Summilux 50mm ƒ1.4 Reissue

• Corner sharpness & edges wide open
  While center sharpness at ƒ1.4 is quite improved over the classic, the corners and edges are soft wide open. This is expected in vintage-styled designs, but if you need images that are razor sharp across the entire frame at ƒ1.4 (for landscapes or architectural work), you’ll need to stop down.

• If it matters, the Summilux 50mm ƒ1.4 reissue does not have a floating element element and is subjected to focus shift. Not a big deal for those acquainted with vintage lenses, but good to know for those with high expectations.
• Flare and chromatic aberration
  In challenging lighting (such as strong backlight), you can get flare, glow, and some purple fringing in out-of-focus highlights, especially when photographing wide open. Some of us will appreciate such characteristics; while some may find this characteristics distracting.

• Not really modern in some respects
  While the lens is improved over its vintage predecessors, you still don’t get the sharp crisp edge to edge performance of the Aspherical or Apochromatic versions. If your priority is maximal resolving power, there are trade-offs.

Conclusions

The Leica Summilux 50mm ƒ1.4 reissue is a beautiful lens that strikes a fine balance between nostalgia, character, and significantly improved performance over its predecessor. For photographers who love the heritage of Leica, who relish lenses that show personality rather than clinical perfection, this lens is a dream.

If you photograph portraits, low-light scenes where rendering and bokeh matter more than perfect corner sharpness, this lens will serve you well.

While it may not be the lens for those who demand top tier edge-to-edge sharpness at ƒ1.4, Leica has done something special: rather than just reissue a vintage lens, they have matured it with a shorter minimum focus distance, better contrast, modern tolerances while preserving that classic character that makes a Summilux so beloved.

In short, the Leica Summilux 50mm ƒ1.4 reissue is not just nostalgia, it’s relevance. If you are considering a Summilux for its mood, its look, its tactile joy and can accept some compromises, you will likely find this lens very much worth your consideration.

Did I also mention that the Summilux 50mm ƒ1.4 reissue is priced around 20% lower than the current Summilux 50mm ƒ1.4 close-focusing too?

Thank you for reading.

Disclaimers:

1. All product photos and samples here were photographed by me. I believe any reviewer with pride should produce their own product photos. 

2. All images were shot with the Leica M10-R and Leica Summilux 50mm ƒ1.4 reissue, both my personal sets.

3. This review is not sponsored.

4. I write as a passion and a hobby, and I appreciate that photography brands are kind enough to respect and work with me.

5. The best way to support me is to share the review, or you can always help support me by contributing to my fees to WordPress for the domain using the Paypal button at the bottom of the page.