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There is a common trap we fall into as photographers where we start viewing lenses as sets of data points and price to performance ratios. I have been guilty of it myself. In recent months, I found myself looking at the incredible offerings from Voigtlander, specifically the 50mm f/1.2 and f/1.0 Noktons, and questioning the Leica tax. On paper, those lenses are more than just viable alternatives, they are giant killers that give the Summilux a serious run for its money at a fraction of the investment. But paper specs and real world are two very different things.
I took the 50mm Lux ( 11729 ) out to downtown Portland today paired with my M11, and the experience was a blunt reminder of why this lens sits at the top of the food chain. Shooting street portraits between f/1.4 and f/2.8, I stopped looking at the corners and started looking at the stories. There is a specific way this glass draws a scene that remains unmatched. It isn't just about the resolution, which is admittedly spectacular on the M11, but the way it transitions from the subject to the background. Even when stopping down.
The color rendering has a depth and a wet to it look, a rich, deep saturation that feels alive and organic. It’s a far cry from the sterile, clinical output you get from so many modern high performance lenses. While other lenses might be just as sharp, they often lack that elusive, magical character that makes a portrait feel like a three dimensional rather than a flat file. The new close focus capability only adds to this versatility, allowing for an intimacy in street work.
Owning a Summilux isn't about making the most logical financial decision, it is about owning a lens that still defines the gold standard. After today, it's clear that while the price is steep, you really do get what you pay for.
For me, today was a reminder that while the price is high, the payoff is real. It was never a matter of doubting the lens’s performance, but rather questioning if that extra investment truly shows up in your images. After seeing these M11 files, it’s clear that it does. On a side note, I no longer have my Zeiss 50mm Otus ML, which is likely the only glass capable of truly dethroning the Summilux. I’ll eventually have to dig through my files and compare today's shots against some of the older work I did with the Otus on my Zf just to be sure, but for now, the Lux feels untouchable. If you already own this lens, you can feel confident that while other brands are closing the gap, the Summilux still sits on a throne that nobody else has quite managed to take.
Moving on with some sample, I am including several of the shots in both color and black and white. I wanted to show exactly how this lens behaves across both mediums, because the way it handles tonal transitions in monochrome is just as impressive as that deep, rich color palette. It’s a good way to see how the rendering holds up when you strip the color away and just look at the light and the draw.
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This shot from around Burnside and 10th is a prime example of what I mean. Look at the blue in her hair. It has that deep saturation that almost looks wet, yet her skin tones stay perfectly natural. This is where the M11 and the 50 lux really show off. Yes, I know, the M10R is known for rendering outstanging colors. But it's hard to beat the M11.
The way this lens handles the transition from the eyes to the background is where the money is. I think it It really does a great job of isolating the subject in a way that feels three dimensional rather than just a flat person in front of a blurry wall. Even in the bright midday Portland light ( a rarity here in the Pacific Northwest. Gonna be 90 tomorrow !!! ) The highlights stay in check and there is a weight to the colors that I rarely see with the competition. It’s shots like this that actually make me feel the steep price tag is worth it.
On a side note, talk to Tony at Popflash if you are looking for one of these lenses. He is a great resource and has awesome service and pricing.
I find the rendering here is something else. Even stopped down a bit, that background just dissolves and lets her face do all the talking. It doesn't have that nervous or busy look you sometimes get with other lenses, it just pulls back and disappears.
In black and white, you can really see the contrast doing the heavy lifting. This may sound a bit too critical. But, the textures in the knit hat and the lines of her face are all there in high relief. It has that crazy sharpness I personally love so much but it still feels like a classic photograph rather than a digital file. The way the focus falls off from her eye to the motion in her hand gives the whole frame a ton of dimension. This shot alone makes a strong case for why the Lux stays in the bag.
Looking at the color version of this one really confirms what I was feeling about the rendering. The way it handles that soft red in the background and the green of the jacket shows off the rich colors without looking overdone. You can see how the Lux keeps the subject totally isolated even when the background is busy.
It is pretty cool to see the color and black and white side by side. While the monochrome version has that gritty, classic feel, the color really shows off the depth and how lifelike the rendering is. The way the red sidewalk and those blurred traffic lights sit in the background adds just enough context without pulling your eyes away from her face. It really just goes to show that this lens delivers regardless of which medium you're shooting in.
The shift in mood here is heavy but it really lets the technical side of the lens shine in a different way. The level of detail picked up through this glass is almost jarring. If you look at the jacket collar and the texture of his skin you can see every frayed thread and bit of stubble. Even his eyelashes are individual points of focus.
What I find interesting is that despite all that insane sharpness the image doesnt feel digital or harsh. Sometimes, I wonder why I still have film cameras laying around. The brown of the jacket has a nice richness and the way the green bush in the background just turns into a soft wall of color is classic Summilux. This is exactly why I stopped worrying about the price tag and started looking at the output again. Its hard to find another lens that can be this clinical and this expressive at the same time.
Switching this to black and white really paints a different picture. Without the color of the jacket or the greenery, the contrast takes over.
I love this shot. It is a great contrast to the last few. Meeting this guy was a total 180 in energy and the lens captured that jovial vibe perfectly. He was a blast and super entertaining. Even though its black and white I can practically feel the personality coming through.
The summilux really shows off its strength here with the way it renders that beard. You can see every individual silver hair and the texture of the necklace stands out with incredible detail. But again its the way the city street behind him just falls off that makes the shot. I think It gives it a cinematic feel where the subject is clearly separated from the surroundings without looking like he was pasted on top of it. It is just another reminder of why this lens will go where ever I go. Especially for street photography.
Checkout the posing he did for me in the next Picture 😁
This one is all about the energy. You can feel the motion of the moment just by looking at his pose. He was clearly in his element here, and that wide stance with the Dr Pepper and the bag gives the whole scene a spontaneous, larger than life vibe that was a blast to capture. It’s just one of those genuine Portland street encounters that stays with you.
I am not a big fan of Portland. But, it offers some amazing photo opportunities.
This one really hits the mark. Despite his situation, there is a certain cool to his look with the headband and those oversized glasses. The lens did a great job of picking up the reflection in his glasses while keeping that slight, knowing smile 😀 sharp.
The way the light catches his face while the rest of the street just washes out is exactly why this focal length works so well for this kind of work. You just gotta love that 50mm focallength regardless of who it's made by.
Might as well throw one more in here. More of a profile look.
Finally, after spending the day with this lens, my takeaway is simple. The 50mm Summilux is spectacular. It is definitely pricey, but when you see how it handles light and renders a subject, the premium starts to make sense. It’s one of those rare pieces of gear that actually changes how you feel about a focal length.
If you can afford to pick one up or happen to stumble across a deal on a used one, dont hesitate. It is an absolute keeper and I am honestly just glad I took the time to revisit it and see past the spec sheets. It is staying in my bag. If the retail price is the only thing holding you back, check out the buy and sell section over at fredmiranda.com. You can often find great deals there from other enthusiasts which makes that Leica premium a lot easier to swallow.