My relationship with manual glass is a tug of war between nostalgia and performance. While I appreciate "vintage character," I generally demand clinical, razor sharp rendering. I have little patience for "glow" when it’s just an excuse for poor wide open performance.
When I picked up the Voigtlander 50mm f/1.2 Nokton II from Cameraquest, I was skeptical. Generally speaking, fast primes including Leica often implies "soft until f/2.8." However, Voigtlander has a pretty solid record of delivering. So, after testing it on my Nikon Zf via the Techart TZM-02 autofocus adapter using my 13 year old German Shepherd, Freya, as a model I was genuinely impressed. The Voigtlander surpassed my expectations.
Performance & Sharpness
I am a stickler for contrast and resolution. Usually, f/1.2 glass carries a dreamy haze, but this Version II is a different animal:
Even at f/1.2, the sharpness is remarkable. It lacks the distracting spherical aberration of its predecessors.
Unlike many "character" lenses that wash out wide open, this lens maintains rich blacks and deep tones even in challenging light.
The thin plane of focus combined with clean rendering creates a pronounced subject separation that feels organic rather than artificial.
The AF Experience (Techart TZM-02)
Adapting M mount glass to mirrorless often feels like a compromise, but the Techart TZM-02 changes the math. On the Nikon Zf, the experience is seamless. The adapter’s motor is snappy enough to make this f/1.2 beast feel like a native autofocus prime, even when utilizing eye tracking.
The Aperture Flavor & Bokeh
Comparing this to my benchmark the 50mm f/2 APO Lanthar, the Nokton II holds its own surprisingly well. The 12 blade diaphragm offers three distinct "flavors" of rendering ...
f/1.2 Incredibly smooth bokeh circles with no trace of aperture blades. It offers a creamy, melting background.
f/1.4 A slight turn brings a subtle "sawtooth" texture to the highlights. It’s not distracting, but it adds a unique character.
f/2 The rendering becomes more consistent and stable, moving closer to the clinical look I prefer while retaining the Nokton’s signature color.
Voigtlander has managed a rare feat, creating a lens that feels corrected without feeling sterile. It satisfies my craving for clinical resolution at the focal point while retaining a smooth, organic fall off. On the Zf’s sensor, these files possess a depth that my native S line primes sometimes struggle to replicate.
To put my skepticism to the rest, I started where most people would, wide open at f/1.2. This image of Freya (processed in DxO PhotoLab 9) perfectly illustrates why my initial fears about this lens were unfounded.
Sharpness Where It Counts
Even at its maximum aperture, the level of detail is startling. If you look closely at Freya’s eyelashes, they are rendered with a crispness that I honestly didn't expect from an f/1.2 M mount lens. In the past, shooting wide open meant sacrificing fine detail for mood, but here, the micro contrast is high enough that the eye remains sharp, providing that clinical precision I value so much.
A Dreamy Backdrop
While the subject is sharp, the background tells a different story. The bokeh circles from the holiday lights in the distance are incredibly smooth and perfectly circular. There is no distracting onion ringing or harsh outlining. Instead, you get a buttery fall off that makes the sharp details of the fur and eyes pop off the screen.
Processing with DxO PhotoLab 9
On a side note, I should also note that this shot and all others in the blog post was processed using DxO PhotoLab 9. The software’s ability to handle raw data especially when it comes to lens corrections and noise reduction definitely helps highlight just how much resolving power this Version II Nokton actually possesses. It manages to clean up the files without stripping away that unique Voigtlander glow that makes the lens special.
Click to view photo details and comments
The Wide Open shot
To put my skepticism to the rest, I started where most people would, wide open at f/1.2. This image of Freya (processed in DxO PhotoLab 9) perfectly illustrates why my initial fears about this lens were unfounded.
Sharpness Where It Counts
Even at its maximum aperture, the level of detail is startling. If you look closely at Freya’s eyelashes, they are rendered with a crispness that I honestly didn't expect from an f/1.2 M mount lens. In the past, shooting wide open meant sacrificing fine detail for mood, but here, the micro contrast is high enough that the eye remains sharp, providing that clinical precision I value so much.
A Dreamy Backdrop
While the subject is sharp, the background tells a different story. The bokeh circles from the holiday lights in the distance are incredibly smooth and perfectly circular. There is no distracting onion ringing or harsh outlining. Instead, you get a buttery fall off that makes the sharp details of the fur and eyes pop off the screen.
Processing with DxO PhotoLab 9
On a side note, I should also note that this shot and all others in the blog post was processed using DxO PhotoLab 9. The software’s ability to handle raw data especially when it comes to lens corrections and noise reduction definitely helps highlight just how much resolving power this Version II Nokton actually possesses. It manages to clean up the files without stripping away that unique Voigtlander glow that makes the lens special.
The Shift at f/1.4. Hidden details in the softness
Stepping down just a fraction to f/1.4, the rendering begins to shift in a way that is subtle but significant for those of us who obsess over the details.
In this second shot of Freya, the lens starts to reveal its mechanical character. While f/1.2 was all about total diffusion in the background, f/1.4 introduces a bit more bite and structure along with enhanced sharpness.
The most notable change is in those background highlights. As you can see in the Christmas tree lights behind Freya.
At f/1.4, the perfectly circular bokeh of the wide-open setting gives way to a faint diaphragm blade pattern. It’s not a harsh polygon, but you can definitely see the multi edged geometry of the 12 blades starting to shape the light.
Sharpness and Processing
From a clinical standpoint, the sharpness on the eye and eyelashes remains incredibly impressive. If anything, the contrast feels a touch higher here than it did at f/1.2.
Again, DxO PhotoLab 9 did a fantastic job of preserving the fine texture of Freya's fur while keeping the transition into the bokeh looking natural.
For those who find f/1.2 a bit too limitless, stopping down to f/1.4 provides a nice middle ground. You keep the massive subject separation, but you gain a sense of the lens's physical construction in the way it handles light. Closer to what a 50mm Leica Summilux would render.
Click to view photo details and comments
The Shift at f/1.4. Hidden details in the softness
Stepping down just a fraction to f/1.4, the rendering begins to shift in a way that is subtle but significant for those of us who obsess over the details.
In this second shot of Freya, the lens starts to reveal its mechanical character. While f/1.2 was all about total diffusion in the background, f/1.4 introduces a bit more bite and structure along with enhanced sharpness.
The most notable change is in those background highlights. As you can see in the Christmas tree lights behind Freya.
At f/1.4, the perfectly circular bokeh of the wide-open setting gives way to a faint diaphragm blade pattern. It’s not a harsh polygon, but you can definitely see the multi edged geometry of the 12 blades starting to shape the light.
Sharpness and Processing
From a clinical standpoint, the sharpness on the eye and eyelashes remains incredibly impressive. If anything, the contrast feels a touch higher here than it did at f/1.2.
Again, DxO PhotoLab 9 did a fantastic job of preserving the fine texture of Freya's fur while keeping the transition into the bokeh looking natural.
For those who find f/1.2 a bit too limitless, stopping down to f/1.4 provides a nice middle ground. You keep the massive subject separation, but you gain a sense of the lens's physical construction in the way it handles light. Closer to what a 50mm Leica Summilux would render.
Closing the Gap at f/2. A Rival for the APO Lanthar?
Finally, we arrive at f/2. This is the critical juncture for me because it’s where this lens has to answer to the legendary 50mm APO Lanthar. Having shot extensively with the APO version, I have a mental profile of how it renders. Extreme contrast, zero aberrations, and a very specific, clean fall off.
The f/2 Summary
Looking at this third shot of Freya, the transformation that began at f/1.2 has completed.
Bokeh Recovery: Interestingly, the "sawtooth" pattern from the diaphragm blades that was visible at f/1.4 has smoothed out significantly here. The bokeh circles in the Christmas tree lights are once again becoming creamy and uniform, losing that geometric edge and returning to a more clinical softness that I find very appealing.
APO Level Sharpness?
Based on my personal use of both lenses, this Nokton II at f/2 comes startlingly close to the APO Lanthar’s performance. While the APO still hold a slight lead in technical perfection, the Nokton’s rendering of Freya’s eye and the fine texture of her fur is so sharp that it satisfies my clinical cravings entirely.
The Best of Both Worlds
What the Nokton offers here is a slightly more organic contrast compared to the APO's ultra sharp bite. It feels less like a lab instrument and more like a high performance artist's tool.
Click to view photo details and comments
Closing the Gap at f/2. A Rival for the APO Lanthar?
Finally, we arrive at f/2. This is the critical juncture for me because it’s where this lens has to answer to the legendary 50mm APO Lanthar. Having shot extensively with the APO version, I have a mental profile of how it renders. Extreme contrast, zero aberrations, and a very specific, clean fall off.
The f/2 Summary
Looking at this third shot of Freya, the transformation that began at f/1.2 has completed.
Bokeh Recovery: Interestingly, the "sawtooth" pattern from the diaphragm blades that was visible at f/1.4 has smoothed out significantly here. The bokeh circles in the Christmas tree lights are once again becoming creamy and uniform, losing that geometric edge and returning to a more clinical softness that I find very appealing.
APO Level Sharpness?
Based on my personal use of both lenses, this Nokton II at f/2 comes startlingly close to the APO Lanthar’s performance. While the APO still hold a slight lead in technical perfection, the Nokton’s rendering of Freya’s eye and the fine texture of her fur is so sharp that it satisfies my clinical cravings entirely.
The Best of Both Worlds
What the Nokton offers here is a slightly more organic contrast compared to the APO's ultra sharp bite. It feels less like a lab instrument and more like a high performance artist's tool.
While the color versions of these shots highlighted the technical capabilities of the new 50mm f/1.2 Nokton II, converting the wide open frame to black and white reveals the lens's true emotional character and capabilities.
In this monochrome rendering, the transition from the sharp, focused details of Freya's face to the background is nothing short of perfect mood.
When you strip away color, you are left with light, shadow, and texture and this is where the Nokton II shines for someone who appreciates a clinical yet soulful image.
Even in monochrome, the rendering of the eyelashes and the individual hairs around Freya's eye remains incredibly sharp. The lens provides enough contrast that the subject doesn't just sit on the background; it feels carved out of it.
The way the light fall off occurs across her fur is incredibly satisfying. There is a richness to the mid tones that gives the image a medium format quality.
Also, in black and white, those f/1.2 bokeh circles transform into soft, luminous orbs that look like a charcoal sketch. Because the highlights are so smooth at this aperture, for me, they create a serene atmosphere that perfectly complements Freya’s resting pose.
Even for someone like me who preders a clinical look, there is something undeniably satisfying about how this lens handles a monochrome file. It proves that you don't need to sacrifice sharpness to achieve a classic, timeless aesthetic.
A trolling of Leica monochrome users
Needless to say, I love my Zf and am a Leica fanboy. BUt, there is no denying one of the most compelling aspects of this workflow of using the Nikon Zf and processing through DxO PhotoLab 9 is the sheer flexibility it affords compared to a specialized tool like a Leica Monochrom. While the Monochrom is a purist's dream, it locks you into a single vision the moment you press that shutter release.
By shooting with the Zf or my M11, I have the best of both worlds. I can retain the rich, vibrant colors the subject and scene while maintaining total crfeative control.
Unlike a dedicated monochrome sensor, I can manipulate the color channels during the conversion process. This gives me complete control over the black and white adjustments, allowing me to decide exactly how the reds of the ornaments or the greens of the tree translate into grey tones to achieve that specific look I want.
Click to view photo details and comments
The Monochrome Soul of f/1.2
While the color versions of these shots highlighted the technical capabilities of the new 50mm f/1.2 Nokton II, converting the wide open frame to black and white reveals the lens's true emotional character and capabilities.
In this monochrome rendering, the transition from the sharp, focused details of Freya's face to the background is nothing short of perfect mood.
When you strip away color, you are left with light, shadow, and texture and this is where the Nokton II shines for someone who appreciates a clinical yet soulful image.
Even in monochrome, the rendering of the eyelashes and the individual hairs around Freya's eye remains incredibly sharp. The lens provides enough contrast that the subject doesn't just sit on the background; it feels carved out of it.
The way the light fall off occurs across her fur is incredibly satisfying. There is a richness to the mid tones that gives the image a medium format quality.
Also, in black and white, those f/1.2 bokeh circles transform into soft, luminous orbs that look like a charcoal sketch. Because the highlights are so smooth at this aperture, for me, they create a serene atmosphere that perfectly complements Freya’s resting pose.
Even for someone like me who preders a clinical look, there is something undeniably satisfying about how this lens handles a monochrome file. It proves that you don't need to sacrifice sharpness to achieve a classic, timeless aesthetic.
A trolling of Leica monochrome users
Needless to say, I love my Zf and am a Leica fanboy. BUt, there is no denying one of the most compelling aspects of this workflow of using the Nikon Zf and processing through DxO PhotoLab 9 is the sheer flexibility it affords compared to a specialized tool like a Leica Monochrom. While the Monochrom is a purist's dream, it locks you into a single vision the moment you press that shutter release.
By shooting with the Zf or my M11, I have the best of both worlds. I can retain the rich, vibrant colors the subject and scene while maintaining total crfeative control.
Unlike a dedicated monochrome sensor, I can manipulate the color channels during the conversion process. This gives me complete control over the black and white adjustments, allowing me to decide exactly how the reds of the ornaments or the greens of the tree translate into grey tones to achieve that specific look I want.
To close out this series of Frey, let’s take one last look at Freya, shot wide open at f/1.2 with a slightly different background. This profile shot serves as the ultimate proof of why I’ve come to trust this lens.
The focus on her eye is nothing short of spot on. (Thank you Techart for good focus) proving that even when the depth of field is paper thin, the Nokton II delivers the biting resolution I usually only expect from clinical glass.
Against the warmer, more concentrated bokeh of the fireplace in the background, her fur remains crisp and well-defined. It’s the perfect example of the lens’s modern classic duality. Extreme sharpness where you need it, wrapped in an effortlessly smooth blur.
Click to view photo details and comments
To close out this series of Frey, let’s take one last look at Freya, shot wide open at f/1.2 with a slightly different background. This profile shot serves as the ultimate proof of why I’ve come to trust this lens.
The focus on her eye is nothing short of spot on. (Thank you Techart for good focus) proving that even when the depth of field is paper thin, the Nokton II delivers the biting resolution I usually only expect from clinical glass.
Against the warmer, more concentrated bokeh of the fireplace in the background, her fur remains crisp and well-defined. It’s the perfect example of the lens’s modern classic duality. Extreme sharpness where you need it, wrapped in an effortlessly smooth blur.
Moving away from portraiture for a moment, I wanted to see how the lens handled inanimate objects and close range textures. This shot of a seasonal candle setup was captured at f/1.4, and the change in subject provides a great oportunity to analyze the lens's clinical capabilities.
What immediately draws my eye in this frame is the rendering of the red berries. Even at f/1.4, the detail is exceptionally sharp.You can clearly see the fine, glittery texture and the small imperfections on the surface of the berries.
The deep reds are vibrant and well-saturated, showing no signs of the bleeding or chromatic aberration that often plagues fast lenses when wide open.
There is a distinct "pop" where the sharp edges of the berries meet the softly blurred green leaves, a testament to the lens's high contrast.
As we observed with the previous shots, f/1.4 remains the character sweet spot for this lens. While the foreground remains surgically sharp, the background highlights, those warm twinkly lights begin to show the subtle 12-blade diaphragm pattern. Once again, this adds a structured geometry to the bokeh that feels more sophisticated than a simple blur.
Click to view photo details and comments
Shifting Subjects
Moving away from portraiture for a moment, I wanted to see how the lens handled inanimate objects and close range textures. This shot of a seasonal candle setup was captured at f/1.4, and the change in subject provides a great oportunity to analyze the lens's clinical capabilities.
What immediately draws my eye in this frame is the rendering of the red berries. Even at f/1.4, the detail is exceptionally sharp.You can clearly see the fine, glittery texture and the small imperfections on the surface of the berries.
The deep reds are vibrant and well-saturated, showing no signs of the bleeding or chromatic aberration that often plagues fast lenses when wide open.
There is a distinct "pop" where the sharp edges of the berries meet the softly blurred green leaves, a testament to the lens's high contrast.
As we observed with the previous shots, f/1.4 remains the character sweet spot for this lens. While the foreground remains surgically sharp, the background highlights, those warm twinkly lights begin to show the subtle 12-blade diaphragm pattern. Once again, this adds a structured geometry to the bokeh that feels more sophisticated than a simple blur.
Of course, we can’t talk about an M mount lens without addressing the elephant in the room. While it performs brilliantly on the Nikon Zf with an autofocus adapter, this is what the Voigtlander 50mm f/1.2 Nokton II was truly designed for. A digital rangefinder like the Leica M11. In this case, my new Gl;ossy Black Paint M11 from Popflash Photo who has been my source of new and used Leicas gear for many years.
Mounting this lens on the M11 feels like a homecoming. This setup represents the classic, purist experience. No adapters, no motors, just you and the rangefinder patch. While the Zf offers the convenience of modern AF, there is a distinct tactile satisfaction in using the Nokton’s dampened, all metal focus ring to nail a shot manually.
The manual focus experience
The mages below were captured using 100% manual focus. On a high resolution sensor like the M11’s, there is absolutely nowhere for a lens to hide.
Shooting at f/1.2 on a rangefinder is a true test of skill. The depth of field is razor thin, and any slight movement from you or the subject can throw the focus off.
When you do nail it, the results are sublime. You get that same clinical sharpness on the eyelashes we saw earlier, but with the added "soul" that comes from the deliberate process of rangefinder focusing.
This Version II is even lighter (322g) and more balanced than the original, making it feel right at home on the M11 body without the front heavy feel of some faster 50mm glass.
While I love the versatility of the Nikon Zf setup, seeing the lens on the M11 reminds me why this particular glass is so special. It manages to bridge the gap between two very different shooting styles: the fast-paced world of modern mirrorless and the slow, intentional world of the rangefinder.
Click to view photo details and comments
The Elephant in the Room
Of course, we can’t talk about an M mount lens without addressing the elephant in the room. While it performs brilliantly on the Nikon Zf with an autofocus adapter, this is what the Voigtlander 50mm f/1.2 Nokton II was truly designed for. A digital rangefinder like the Leica M11. In this case, my new Gl;ossy Black Paint M11 from Popflash Photo who has been my source of new and used Leicas gear for many years.
Mounting this lens on the M11 feels like a homecoming. This setup represents the classic, purist experience. No adapters, no motors, just you and the rangefinder patch. While the Zf offers the convenience of modern AF, there is a distinct tactile satisfaction in using the Nokton’s dampened, all metal focus ring to nail a shot manually.
The manual focus experience
The mages below were captured using 100% manual focus. On a high resolution sensor like the M11’s, there is absolutely nowhere for a lens to hide.
Shooting at f/1.2 on a rangefinder is a true test of skill. The depth of field is razor thin, and any slight movement from you or the subject can throw the focus off.
When you do nail it, the results are sublime. You get that same clinical sharpness on the eyelashes we saw earlier, but with the added "soul" that comes from the deliberate process of rangefinder focusing.
This Version II is even lighter (322g) and more balanced than the original, making it feel right at home on the M11 body without the front heavy feel of some faster 50mm glass.
While I love the versatility of the Nikon Zf setup, seeing the lens on the M11 reminds me why this particular glass is so special. It manages to bridge the gap between two very different shooting styles: the fast-paced world of modern mirrorless and the slow, intentional world of the rangefinder.
The Purest Connection. Leica M11 & True Manual Focus
While the Nikon Zf setup is a modern marvel of convenience, we have to address the Elephant in the room. This, the Leica M11 is exactly what the Voigtlander 50mm f/1.2 Nokton II was built for. Moving from an autofocus adapter back to a 100% manual rangefinder experience changes the entire soul of the process.
The rendering in this black and white shot of Freya is, quite frankly, awesome. On the M11’s high resolution sensor, the lens has absolutely nowhere to hide.
Even shot wide open at f/1.2, the micro contrast is remarkable. You can see every detail in Freya's fur and the sharp focus on her eye, providing that clinical level of detail I crave. I really did get luck here with Frey remaining still. What a model 😁
There is a visceral satisfaction in nailing focus manually at f/1.2. Using the exceptional focusing mechanism of the Nokton II to align the rangefinder patch makes the final image feel earned.
The black and white conversion highlights the lens's ability to draw with light. The transition from the sharp plane of focus to the smooth, buttery bokeh is even more dramatic in monochrome, creating a timeless look that color sometimes obscures.
By the way, this particular image is a straight out of camera jpg saved as a monochrom render.
Why This Setup Matters
Like mentioned above, unlike a dedicated Monochrom camera, using the M11 gives me the flexibility of color while allowing me to dial in the exact black and white look I want in post processing. It’s about being in complete control of the final output and having a camera the can serve all needs. Not to mention, the $'s saved.
This combination of the M11 and the Nokton II is a reminder that while technology can make things easier, there is no substitute for the intentionality of a true manual focus experience. It’s a slower way to shoot, but when the rendering is this satisfying, it's worth every extra second.
Click to view photo details and comments
The Purest Connection. Leica M11 & True Manual Focus
While the Nikon Zf setup is a modern marvel of convenience, we have to address the Elephant in the room. This, the Leica M11 is exactly what the Voigtlander 50mm f/1.2 Nokton II was built for. Moving from an autofocus adapter back to a 100% manual rangefinder experience changes the entire soul of the process.
The rendering in this black and white shot of Freya is, quite frankly, awesome. On the M11’s high resolution sensor, the lens has absolutely nowhere to hide.
Even shot wide open at f/1.2, the micro contrast is remarkable. You can see every detail in Freya's fur and the sharp focus on her eye, providing that clinical level of detail I crave. I really did get luck here with Frey remaining still. What a model 😁
There is a visceral satisfaction in nailing focus manually at f/1.2. Using the exceptional focusing mechanism of the Nokton II to align the rangefinder patch makes the final image feel earned.
The black and white conversion highlights the lens's ability to draw with light. The transition from the sharp plane of focus to the smooth, buttery bokeh is even more dramatic in monochrome, creating a timeless look that color sometimes obscures.
By the way, this particular image is a straight out of camera jpg saved as a monochrom render.
Why This Setup Matters
Like mentioned above, unlike a dedicated Monochrom camera, using the M11 gives me the flexibility of color while allowing me to dial in the exact black and white look I want in post processing. It’s about being in complete control of the final output and having a camera the can serve all needs. Not to mention, the $'s saved.
This combination of the M11 and the Nokton II is a reminder that while technology can make things easier, there is no substitute for the intentionality of a true manual focus experience. It’s a slower way to shoot, but when the rendering is this satisfying, it's worth every extra second.
To round things out, here is a follow up shot of Freya in color, captured natively on the Leica M11 at f/1.2.
Even wide open, the rendering is remarkably bitey. The M11 sensor brings out a richness in the coat and a clarity in the eyes that perfectly aligns with my preference for clinical sharpness. The fall off into the background remains smooth, proving that even without the convenience of the Zf's autofocus, this lens delivers a world class color image when you nail the focus manually. It’s a simple, direct testament to what this Version II of this glass can do on the high resolution sensor it was born for.
Click to view photo details and comments
The M11 and Nokton 1.2 II color
To round things out, here is a follow up shot of Freya in color, captured natively on the Leica M11 at f/1.2.
Even wide open, the rendering is remarkably bitey. The M11 sensor brings out a richness in the coat and a clarity in the eyes that perfectly aligns with my preference for clinical sharpness. The fall off into the background remains smooth, proving that even without the convenience of the Zf's autofocus, this lens delivers a world class color image when you nail the focus manually. It’s a simple, direct testament to what this Version II of this glass can do on the high resolution sensor it was born for.
This shot moves away from the controlled environment of home and into the unpredictable light of the street. Captured with my M11 at f/2, this portrait of my son in his EDB hoodie is exactly why I’ve come to appreciate this Version II Nokton.
Even in this busy street scene, the rendering is incredibly satisfying.
At f/2 the subject is isolated with a 3D quality that feels intentional but not artificial. The contrast on his face and hair is remarkably sharp, once again, satisfying my preference for a clinical look.
The 12 blade diaphragm really shows its strength here. The background elements, the woman walking and the storefront are blurred into a smooth, readable texture that provides context without being distracting.
The Manual Advantage
Nailing this shot with true manual focus on the M11 adds to the satisfaction. At f/2, you have a bit more breathing room than at f/1.2 but it still requires that deliberate rangefinder precision. This image confirms that the Nokton II isn't just a bokeh monster, it’s a sophisticated, highly corrected tool great for street photography as well.
Click to view photo details and comments
Outside with the M11
This shot moves away from the controlled environment of home and into the unpredictable light of the street. Captured with my M11 at f/2, this portrait of my son in his EDB hoodie is exactly why I’ve come to appreciate this Version II Nokton.
Even in this busy street scene, the rendering is incredibly satisfying.
At f/2 the subject is isolated with a 3D quality that feels intentional but not artificial. The contrast on his face and hair is remarkably sharp, once again, satisfying my preference for a clinical look.
The 12 blade diaphragm really shows its strength here. The background elements, the woman walking and the storefront are blurred into a smooth, readable texture that provides context without being distracting.
The Manual Advantage
Nailing this shot with true manual focus on the M11 adds to the satisfaction. At f/2, you have a bit more breathing room than at f/1.2 but it still requires that deliberate rangefinder precision. This image confirms that the Nokton II isn't just a bokeh monster, it’s a sophisticated, highly corrected tool great for street photography as well.
To wrap up this review, this final shot captured at f/1.2 with my M11 perfectly embodies the spontaneous, candid nature of a fast prime.
In the monochrome profile, the shallow depth of field creates a beautiful sense of intimacy, isolating the subject's expression while the foreground and background dissolve into a pleasing blur. Despite the technical difficulty of manual focus at such a wide aperture, the Voigtlander 50mm f/1.2 II delivers exactly what I want. Clinical sharpness on the focal point with a sophisticated tonal roll off that only high quality glass can provide.
It’s a fitting end to this test, proving that whether on a modern Nikon Zf or a traditional M11, this lens is a versatile powerhouse that consistently exceeds expectations.
One last note about subject
To conclude, I want to address the choice of imagery in this review. While the subjects and scenes I’ve shared might seem somewhat boring, repetative or everyday, they were chosen with a very specific intent. To demonstrate exactly what this lens can do when shooting fairly open.
By focusing on familiar textures the fine details of fur, the geometry of red berries, or the subtle expressions in a candid portrait the technical performance of the Voigtlander 50mm f/1.2 II becomes much easier to see. It’s in these simple moments that the lens's ability to balance clinical sharpness with a smooth fall off is most apparent. I didn't want the spectacle of a grand landscape or a stylized set to distract from the raw rendering power of the glass itself.
Whether it was the precision of the Nikon Zf setup with auto focus or the tactile soul of the M11, these images prove that even the most mundane subject can be transformed by optics this refined.
Click to view photo details and comments
To wrap up this review, this final shot captured at f/1.2 with my M11 perfectly embodies the spontaneous, candid nature of a fast prime.
In the monochrome profile, the shallow depth of field creates a beautiful sense of intimacy, isolating the subject's expression while the foreground and background dissolve into a pleasing blur. Despite the technical difficulty of manual focus at such a wide aperture, the Voigtlander 50mm f/1.2 II delivers exactly what I want. Clinical sharpness on the focal point with a sophisticated tonal roll off that only high quality glass can provide.
It’s a fitting end to this test, proving that whether on a modern Nikon Zf or a traditional M11, this lens is a versatile powerhouse that consistently exceeds expectations.
One last note about subject
To conclude, I want to address the choice of imagery in this review. While the subjects and scenes I’ve shared might seem somewhat boring, repetative or everyday, they were chosen with a very specific intent. To demonstrate exactly what this lens can do when shooting fairly open.
By focusing on familiar textures the fine details of fur, the geometry of red berries, or the subtle expressions in a candid portrait the technical performance of the Voigtlander 50mm f/1.2 II becomes much easier to see. It’s in these simple moments that the lens's ability to balance clinical sharpness with a smooth fall off is most apparent. I didn't want the spectacle of a grand landscape or a stylized set to distract from the raw rendering power of the glass itself.
Whether it was the precision of the Nikon Zf setup with auto focus or the tactile soul of the M11, these images prove that even the most mundane subject can be transformed by optics this refined.
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My relationship with manual glass is a tug of war between nostalgia and performance. While I appreciate "vintage character," I generally demand clinical, razor sharp rendering. I have little patience for "glow" when it’s just an excuse for poor wide open performance.
When I picked up the Voigtlander 50mm f/1.2 Nokton II from Cameraquest, I was skeptical. Generally speaking, fast primes including Leica often implies "soft until f/2.8." However, Voigtlander has a pretty solid record of delivering. So, after testing it on my Nikon Zf via the Techart TZM-02 autofocus adapter using my 13 year old German Shepherd, Freya, as a model I was genuinely impressed. The Voigtlander surpassed my expectations.
Performance & Sharpness
I am a stickler for contrast and resolution. Usually, f/1.2 glass carries a dreamy haze, but this Version II is a different animal:
Even at f/1.2, the sharpness is remarkable. It lacks the distracting spherical aberration of its predecessors.
Unlike many "character" lenses that wash out wide open, this lens maintains rich blacks and deep tones even in challenging light.
The thin plane of focus combined with clean rendering creates a pronounced subject separation that feels organic rather than artificial.
The AF Experience (Techart TZM-02)
Adapting M mount glass to mirrorless often feels like a compromise, but the Techart TZM-02 changes the math. On the Nikon Zf, the experience is seamless. The adapter’s motor is snappy enough to make this f/1.2 beast feel like a native autofocus prime, even when utilizing eye tracking.
The Aperture Flavor & Bokeh
Comparing this to my benchmark the 50mm f/2 APO Lanthar, the Nokton II holds its own surprisingly well. The 12 blade diaphragm offers three distinct "flavors" of rendering ...
Voigtlander has managed a rare feat, creating a lens that feels corrected without feeling sterile. It satisfies my craving for clinical resolution at the focal point while retaining a smooth, organic fall off. On the Zf’s sensor, these files possess a depth that my native S line primes sometimes struggle to replicate.
The Wide Open shot
To put my skepticism to the rest, I started where most people would, wide open at f/1.2. This image of Freya (processed in DxO PhotoLab 9) perfectly illustrates why my initial fears about this lens were unfounded.
Sharpness Where It Counts
Even at its maximum aperture, the level of detail is startling. If you look closely at Freya’s eyelashes, they are rendered with a crispness that I honestly didn't expect from an f/1.2 M mount lens. In the past, shooting wide open meant sacrificing fine detail for mood, but here, the micro contrast is high enough that the eye remains sharp, providing that clinical precision I value so much.
A Dreamy Backdrop
While the subject is sharp, the background tells a different story. The bokeh circles from the holiday lights in the distance are incredibly smooth and perfectly circular. There is no distracting onion ringing or harsh outlining. Instead, you get a buttery fall off that makes the sharp details of the fur and eyes pop off the screen.
Processing with DxO PhotoLab 9
On a side note, I should also note that this shot and all others in the blog post was processed using DxO PhotoLab 9. The software’s ability to handle raw data especially when it comes to lens corrections and noise reduction definitely helps highlight just how much resolving power this Version II Nokton actually possesses. It manages to clean up the files without stripping away that unique Voigtlander glow that makes the lens special.
The Shift at f/1.4. Hidden details in the softness
Stepping down just a fraction to f/1.4, the rendering begins to shift in a way that is subtle but significant for those of us who obsess over the details.
In this second shot of Freya, the lens starts to reveal its mechanical character. While f/1.2 was all about total diffusion in the background, f/1.4 introduces a bit more bite and structure along with enhanced sharpness.
The most notable change is in those background highlights. As you can see in the Christmas tree lights behind Freya.
At f/1.4, the perfectly circular bokeh of the wide-open setting gives way to a faint diaphragm blade pattern. It’s not a harsh polygon, but you can definitely see the multi edged geometry of the 12 blades starting to shape the light.
Sharpness and Processing
From a clinical standpoint, the sharpness on the eye and eyelashes remains incredibly impressive. If anything, the contrast feels a touch higher here than it did at f/1.2.
Again, DxO PhotoLab 9 did a fantastic job of preserving the fine texture of Freya's fur while keeping the transition into the bokeh looking natural.
For those who find f/1.2 a bit too limitless, stopping down to f/1.4 provides a nice middle ground. You keep the massive subject separation, but you gain a sense of the lens's physical construction in the way it handles light. Closer to what a 50mm Leica Summilux would render.
Closing the Gap at f/2. A Rival for the APO Lanthar?
Finally, we arrive at f/2. This is the critical juncture for me because it’s where this lens has to answer to the legendary 50mm APO Lanthar. Having shot extensively with the APO version, I have a mental profile of how it renders. Extreme contrast, zero aberrations, and a very specific, clean fall off.
The f/2 Summary
Looking at this third shot of Freya, the transformation that began at f/1.2 has completed.
Bokeh Recovery: Interestingly, the "sawtooth" pattern from the diaphragm blades that was visible at f/1.4 has smoothed out significantly here. The bokeh circles in the Christmas tree lights are once again becoming creamy and uniform, losing that geometric edge and returning to a more clinical softness that I find very appealing.
APO Level Sharpness?
Based on my personal use of both lenses, this Nokton II at f/2 comes startlingly close to the APO Lanthar’s performance. While the APO still hold a slight lead in technical perfection, the Nokton’s rendering of Freya’s eye and the fine texture of her fur is so sharp that it satisfies my clinical cravings entirely.
The Best of Both Worlds
What the Nokton offers here is a slightly more organic contrast compared to the APO's ultra sharp bite. It feels less like a lab instrument and more like a high performance artist's tool.
The Monochrome Soul of f/1.2
While the color versions of these shots highlighted the technical capabilities of the new 50mm f/1.2 Nokton II, converting the wide open frame to black and white reveals the lens's true emotional character and capabilities.
In this monochrome rendering, the transition from the sharp, focused details of Freya's face to the background is nothing short of perfect mood.
When you strip away color, you are left with light, shadow, and texture and this is where the Nokton II shines for someone who appreciates a clinical yet soulful image.
Even in monochrome, the rendering of the eyelashes and the individual hairs around Freya's eye remains incredibly sharp. The lens provides enough contrast that the subject doesn't just sit on the background; it feels carved out of it.
The way the light fall off occurs across her fur is incredibly satisfying. There is a richness to the mid tones that gives the image a medium format quality.
Also, in black and white, those f/1.2 bokeh circles transform into soft, luminous orbs that look like a charcoal sketch. Because the highlights are so smooth at this aperture, for me, they create a serene atmosphere that perfectly complements Freya’s resting pose.
Even for someone like me who preders a clinical look, there is something undeniably satisfying about how this lens handles a monochrome file. It proves that you don't need to sacrifice sharpness to achieve a classic, timeless aesthetic.
A trolling of Leica monochrome users
Needless to say, I love my Zf and am a Leica fanboy. BUt, there is no denying one of the most compelling aspects of this workflow of using the Nikon Zf and processing through DxO PhotoLab 9 is the sheer flexibility it affords compared to a specialized tool like a Leica Monochrom. While the Monochrom is a purist's dream, it locks you into a single vision the moment you press that shutter release.
By shooting with the Zf or my M11, I have the best of both worlds. I can retain the rich, vibrant colors the subject and scene while maintaining total crfeative control.
Unlike a dedicated monochrome sensor, I can manipulate the color channels during the conversion process. This gives me complete control over the black and white adjustments, allowing me to decide exactly how the reds of the ornaments or the greens of the tree translate into grey tones to achieve that specific look I want.
To close out this series of Frey, let’s take one last look at Freya, shot wide open at f/1.2 with a slightly different background. This profile shot serves as the ultimate proof of why I’ve come to trust this lens.
The focus on her eye is nothing short of spot on. (Thank you Techart for good focus) proving that even when the depth of field is paper thin, the Nokton II delivers the biting resolution I usually only expect from clinical glass.
Against the warmer, more concentrated bokeh of the fireplace in the background, her fur remains crisp and well-defined. It’s the perfect example of the lens’s modern classic duality. Extreme sharpness where you need it, wrapped in an effortlessly smooth blur.
Shifting Subjects
Moving away from portraiture for a moment, I wanted to see how the lens handled inanimate objects and close range textures. This shot of a seasonal candle setup was captured at f/1.4, and the change in subject provides a great oportunity to analyze the lens's clinical capabilities.
What immediately draws my eye in this frame is the rendering of the red berries. Even at f/1.4, the detail is exceptionally sharp.You can clearly see the fine, glittery texture and the small imperfections on the surface of the berries.
The deep reds are vibrant and well-saturated, showing no signs of the bleeding or chromatic aberration that often plagues fast lenses when wide open.
There is a distinct "pop" where the sharp edges of the berries meet the softly blurred green leaves, a testament to the lens's high contrast.
As we observed with the previous shots, f/1.4 remains the character sweet spot for this lens. While the foreground remains surgically sharp, the background highlights, those warm twinkly lights begin to show the subtle 12-blade diaphragm pattern. Once again, this adds a structured geometry to the bokeh that feels more sophisticated than a simple blur.
The Elephant in the Room
Of course, we can’t talk about an M mount lens without addressing the elephant in the room. While it performs brilliantly on the Nikon Zf with an autofocus adapter, this is what the Voigtlander 50mm f/1.2 Nokton II was truly designed for. A digital rangefinder like the Leica M11. In this case, my new Gl;ossy Black Paint M11 from Popflash Photo who has been my source of new and used Leicas gear for many years.
Mounting this lens on the M11 feels like a homecoming. This setup represents the classic, purist experience. No adapters, no motors, just you and the rangefinder patch. While the Zf offers the convenience of modern AF, there is a distinct tactile satisfaction in using the Nokton’s dampened, all metal focus ring to nail a shot manually.
The manual focus experience
The mages below were captured using 100% manual focus. On a high resolution sensor like the M11’s, there is absolutely nowhere for a lens to hide.
Shooting at f/1.2 on a rangefinder is a true test of skill. The depth of field is razor thin, and any slight movement from you or the subject can throw the focus off.
When you do nail it, the results are sublime. You get that same clinical sharpness on the eyelashes we saw earlier, but with the added "soul" that comes from the deliberate process of rangefinder focusing.
This Version II is even lighter (322g) and more balanced than the original, making it feel right at home on the M11 body without the front heavy feel of some faster 50mm glass.
While I love the versatility of the Nikon Zf setup, seeing the lens on the M11 reminds me why this particular glass is so special. It manages to bridge the gap between two very different shooting styles: the fast-paced world of modern mirrorless and the slow, intentional world of the rangefinder.
The Purest Connection. Leica M11 & True Manual Focus
While the Nikon Zf setup is a modern marvel of convenience, we have to address the Elephant in the room. This, the Leica M11 is exactly what the Voigtlander 50mm f/1.2 Nokton II was built for. Moving from an autofocus adapter back to a 100% manual rangefinder experience changes the entire soul of the process.
The rendering in this black and white shot of Freya is, quite frankly, awesome. On the M11’s high resolution sensor, the lens has absolutely nowhere to hide.
Even shot wide open at f/1.2, the micro contrast is remarkable. You can see every detail in Freya's fur and the sharp focus on her eye, providing that clinical level of detail I crave. I really did get luck here with Frey remaining still. What a model 😁
There is a visceral satisfaction in nailing focus manually at f/1.2. Using the exceptional focusing mechanism of the Nokton II to align the rangefinder patch makes the final image feel earned.
The black and white conversion highlights the lens's ability to draw with light. The transition from the sharp plane of focus to the smooth, buttery bokeh is even more dramatic in monochrome, creating a timeless look that color sometimes obscures.
By the way, this particular image is a straight out of camera jpg saved as a monochrom render.
Why This Setup Matters
Like mentioned above, unlike a dedicated Monochrom camera, using the M11 gives me the flexibility of color while allowing me to dial in the exact black and white look I want in post processing. It’s about being in complete control of the final output and having a camera the can serve all needs. Not to mention, the $'s saved.
This combination of the M11 and the Nokton II is a reminder that while technology can make things easier, there is no substitute for the intentionality of a true manual focus experience. It’s a slower way to shoot, but when the rendering is this satisfying, it's worth every extra second.
The M11 and Nokton 1.2 II color
To round things out, here is a follow up shot of Freya in color, captured natively on the Leica M11 at f/1.2.
Even wide open, the rendering is remarkably bitey. The M11 sensor brings out a richness in the coat and a clarity in the eyes that perfectly aligns with my preference for clinical sharpness. The fall off into the background remains smooth, proving that even without the convenience of the Zf's autofocus, this lens delivers a world class color image when you nail the focus manually. It’s a simple, direct testament to what this Version II of this glass can do on the high resolution sensor it was born for.
Outside with the M11
This shot moves away from the controlled environment of home and into the unpredictable light of the street. Captured with my M11 at f/2, this portrait of my son in his EDB hoodie is exactly why I’ve come to appreciate this Version II Nokton.
Even in this busy street scene, the rendering is incredibly satisfying.
At f/2 the subject is isolated with a 3D quality that feels intentional but not artificial. The contrast on his face and hair is remarkably sharp, once again, satisfying my preference for a clinical look.
The 12 blade diaphragm really shows its strength here. The background elements, the woman walking and the storefront are blurred into a smooth, readable texture that provides context without being distracting.
The Manual Advantage
Nailing this shot with true manual focus on the M11 adds to the satisfaction. At f/2, you have a bit more breathing room than at f/1.2 but it still requires that deliberate rangefinder precision. This image confirms that the Nokton II isn't just a bokeh monster, it’s a sophisticated, highly corrected tool great for street photography as well.
To wrap up this review, this final shot captured at f/1.2 with my M11 perfectly embodies the spontaneous, candid nature of a fast prime.
In the monochrome profile, the shallow depth of field creates a beautiful sense of intimacy, isolating the subject's expression while the foreground and background dissolve into a pleasing blur. Despite the technical difficulty of manual focus at such a wide aperture, the Voigtlander 50mm f/1.2 II delivers exactly what I want. Clinical sharpness on the focal point with a sophisticated tonal roll off that only high quality glass can provide.
It’s a fitting end to this test, proving that whether on a modern Nikon Zf or a traditional M11, this lens is a versatile powerhouse that consistently exceeds expectations.
One last note about subject
To conclude, I want to address the choice of imagery in this review. While the subjects and scenes I’ve shared might seem somewhat boring, repetative or everyday, they were chosen with a very specific intent. To demonstrate exactly what this lens can do when shooting fairly open.
By focusing on familiar textures the fine details of fur, the geometry of red berries, or the subtle expressions in a candid portrait the technical performance of the Voigtlander 50mm f/1.2 II becomes much easier to see. It’s in these simple moments that the lens's ability to balance clinical sharpness with a smooth fall off is most apparent. I didn't want the spectacle of a grand landscape or a stylized set to distract from the raw rendering power of the glass itself.
Whether it was the precision of the Nikon Zf setup with auto focus or the tactile soul of the M11, these images prove that even the most mundane subject can be transformed by optics this refined.