Leica 50mm Noctilux-M ASPH f/0.95 Review by Thorsten Overgaard: "King of the Night" and other Noctilux lenses
By: Thorsten Overgaard. February 2006. Last revision: December 10, 2024.
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Leica 50mm Noctilux-M ASPH f/1.2 (1966)
Leica 50mm Noctilux-M ASPH f/1.2 Heritage (2021)
Leica 50mm Noctilux-M ASPH f/1.0 (1976, 1978, 1983, 1993)
Leica 50mm Noctilux-M ASPH f/0.95 (2008)
Leitz Cine 0.8 50mm Noctilux 50mm f/0.95
It has a magic attraction to it, like a large diamond. And not unlike a real diamond, the glass for it is said to have been prepared in underground ovens for a number of years.
This was in fact true for the f/1.0 verision which was always on waiting list. The new f/0.95 version is smoother to produceiduce and can usually be found in stock. Only the price tag might make it difficult to get, but you already know you want it, dont' you? Else we wouildn't be here rading about it.
I have used the old and the new Noctilux extensively, and when I say "new" I refer to the 2008-version that is an f/0.95 aspherical lens with floating lens elements (FLE). With "old" I mean I used the eally old and original 1966-version f/1.2 with two aspherical surfaces, and then the f/1.0 version. In this article I will try to get around to all of it.
The Noctilux family (from bottom and clockwise): The very first 1966-model, the Leica Noctilux-M f/1.2 ASPH (model 11820, 1966-1975), the current 2008-model in silver, 50mm Noctilux-M ASPH f/0.95 FLE (FLoating Element, model 11667), the 50mm Noctilux-M f/1.0 with built-in hood (model 11822), and on the Leica M240 camera, the current 50mm Noctilux-M ASPH f/0.95 in black (model 11602). Not shown in the picture is the previous models of the 50mm Noctilux f/1.0 (three versions of the model 11821 from 1976-1993 with bayonet or clip-on lens shades; all of which has the same optical design as the one with the built-in plastic hood, but filter sizes from 58mm to 60mm). © Thorsten von Overgaard.
It's perhaps the most unique lens available in the world in that it photographs images almost in the dark, adds a distinguished look to any image captured through it, and at a price of $10,995 it allows only the most dedicated photographers to own one.
Noctilux means "light of the night" [from Latin nocturnus 'of the night' and 'lux' light]. The Noctilux surpasses the speed of the human eye somewhat four times (which can see as wide as f/2.1 in the dark and f/8.3 in bright daylight).
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Noctiliux review by Thorsten Overgaard (video) |
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By Thorsten von Overgaard |
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Thorsten Overgaard Noctilux review February 2021:
Click to watch video.
Thorsten Overgaard Noctilux review July 2019:
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Preorder the new masterclass on video
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Istanbul. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
"The Future of Jakarta". Sunday is car-free day on some of the busy mainroads in Jakarta. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
The Noctilux-M ASPH f/0.95 was introduced by Leica Camera AG in 2008, perhaps as an early sign of a new golden age of uncompromizing lens design from the company: Soon after came the Leica 21mm Summilux-M ASPH f/1,4 and the Leica 24 mm Summilux-M ASPH f/1.4, followed the year after by the "impossible" full frame Leica M9 digital rangefinder that was presented as a surprise on September 9, 2009 at 9:00 AM.
Los Angeles. Leica SL 601 with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
In short, it all marks a strategy of focusing on Leica core qualities such as low-light photography incorporating image quality of the highest caliber, no-nonsense simplicty, compactness and almost complete silence.
That the most light strong, most impossible to design and most expensive Leica lenses (besides the above three mentioned we can count in as well the Leica 50mm Summilux-M ASPH f/1-4 and the Leica 75mm Summicron-M ASPH f/2.0) are also the most sought after, will tell you that it's the right strategy for a company as Leica Camera AG.
The view from my hotel window on an early morning in December, in Seoul. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
New York. Leica M9 with Leica 50mm Noctilux
M f/0.95 FLE. © Thorsten Overgaard .
John Travolta. Leica 50mm Noctilux
M f/0.95 FLE. © Thorsten Overgaard.
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"White Horse" in Qatar. Leica M Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
The company own more expertise in the photographic field than anyone can imagine. As an example the company has more than a thousand patented recipies of how to make special glass types (the thin single glass filter in front of the sensor of the Leica M9 is one example of such a recipe of a glass type that does what other camera producers must use three individual glasses for).
Saint George's Gardens, London, October 2015. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
Denmark, December 2020. Leica M10-P Safari with Leica 50mm Noctilux-M ASPH f/0.95
Paris. Leica M Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
Munich. Leica M246 Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
Munich. Leica M246 Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
Leica M246 Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
Leica M246 Monochrom with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard .
Clearwater, Florida. Leica M10-P Safari with Leica 50mm Noctilux
-M f/0.95 FLE. © Thorsten Overgaard.
Sankt Annæ Gade in Copenhagen, with the tower of Church of Our Saviour in the background. Leica M10-P with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
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Leica Noctilux on Hasselblad X2D and 907X |
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By Thorsten von Overgaard |
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The Hasselblad X1D and Hasselblad X2D do well with Leica glass in front of their sensors that generally have great color fidelity. The Leica 50mm Summilux-M ASPH f/1.4 perhaps is the sure winner, but also the Noctilux f/0.95 make it an entire new experience of photographing.
The Noctilux has an image cirle of Ø43mm diameter, the 100MP sensors in Hasselblad X2D and Hasselblad 907x and the CFV 100c digital medium format back has a sensor size of 43.8 x 32.9 mm.
Portrait with Leica 50mm Noctilux f/0.95 on Hasselblad X2D by Marc Wick.
The Leica 50mm Noctilux f/0.95 on the Hasselblad X2D. ©
Marc Wick.
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Noctilux for atmosphere reportage |
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By Thorsten von Overgaard |
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Any lens with narrow depth of field is great for isolating in an image what you want the viewer to focus on. They eye automatically is led to what is sharp in a photo. Other elements slightly out of focus will be added as atmosphere and background story. You sort of is able to give an overview of the scene (where it is, what is going on, that there is other people or activities), but the center of attention is that which you focus on.
A great lens for atmosphere-packed reportage, weddings and more.
Vincent Cassel at Cannes Film Festival. Leica M240 with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
My younges daughter Robin Isabella with my mother (ladt) and her turor. Leica M240 with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Layla. Leica M10-P Safari with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Leica M9 with Leica 50mm Noctiluf f/1.0. © Thorsten Overgaard.
My youngest daughter Robin Isabella at the hairdresser. Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Berlin. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Rome. Leica M10-P with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
Copenhagen Fashion Week. Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Copenhagen Fashion Week. Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
London. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Jakarta. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
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Noctilux for portraits |
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By Thorsten von Overgaard |
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The 50mm Noctilux is an ideal lens for portraits as it has that narrow depth fo field that make the eyes sharp while the ears (and even the front of the nose) blurs, and the background is a total blur (just like large format cameras). It makes it very easy to isolate the face, but mainly the Noctilux has a very realistic and clear reproduction of skin, hair, wet eyes and more when it is in focus, and the blurry out of focus areas add aesthetics and beauty to the portrait.
Two brothers in the Qatar desert. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Tokyo. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Thorsten Overgaard.
Leica TL2 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Los Angeles. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Hamburg. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
New York. Leica M10-P with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
United Kingdom. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Danish book designer Claus Due. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M240 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10-P with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Compoaser David Campbell. Leica M240 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
London. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
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Noctilux Bokeh |
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By Thorsten von Overgaard |
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While the Noctilux was invented and engineered in an age of faster optics for low light photography (the 1960's), there is no necessity for lenses that can operate in the dark. The high ISO-performances of todays cameras make up for that.
What makes the Noctilux relevant in today's photography is it's unique look, most notable in the "bokehi" (which if a Japanese word for how pleasant or unplesant the shape of the out-of-focus areas are).
The bokeh, and the overall magic look of the Noctilux is an expression of how it handles light. The Noctilux balances on what is possible to control - such a large open space of optics where the light flows in all directions - and what the Noctilux actually does control. The result is sharp details of the essential, while the rest flows away in a dreamlike flow of light.
The Noctilux lenses overall have a recognizeable bokeh that whispers "Noctilux", but the newer design, the less edges you will see, the more smooth the background will transform into a silky feel.
Leica M Monochrom with Leica 50mm Noctilux f/1.0 (1980). © Thorsten Overgaard.
My oldest daughter Caroline in the JJ Hat Store in New York (with a group of workshop students in the background). Leica M10-P with Leica 50mm Noctilux-M f/0.95 FLE. © Thorsten Overgaard.
Los Angeles. Mom and son. Leica M9 with Leica 50mm Noctilux-M f/1.0 (1980). © Thorsten Overgaard.
Cuba. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
New York. Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Vienna. Leica M240 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Italy: Sharp, high contrast where in focus, silky airy bright in the bokeh. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95.
© Thorsten Overgaard.
Thailand. The Noctilux can handle extreme baglight and still hold onto contrast, details and colors. Leica M10with Leica 50mm Noctilux-M ASPH f/0.95.
© Thorsten Overgaard.
Cuba. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95.
© Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
Leica M10 with Leica 50mm Noctilux-M APH f/0.95. © Thorsten Overgaard.
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Don't use UV filters on the Noctilux |
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By Thorsten von Overgaard |
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Leica has always adviced against using filters on the Noctilux if one wants the optimum image quality. The manual mentions the risk for reflections from using an UV filter.
My own Noctilux has never had a UV filter on it (which is the case for all my lenses) as I don't consider a UV filter a protection for a lens.
As you can tell, my Noctilux f/0.95 have had an adventurous life. The front glass never suffered any scratches even then barrel has been replaced three times from falls and hits. (Here seen on the Leica M Monochrom with Yellow Yosemite camera strap). © Thorsten Overgaard.
Besides the cosmetic beauty of a "naked" lens, the front glass on Leica lenses is harder and more resistent glass than any UV filter. In other words, the front glass doesn't get scratched that easy, whereas a UV filter is a cheaper form of glass that can get micro scratches from even cleaning. If you have prescription glasses, you may know that some glass is scratch-resistent, while other is not. Then if a front of lens gets a hard dent, the UV filter will break and spread smal pieces of broken glass all over the place, whereas a front glass of a lens might get a scratch that require that you send the lens to Leica in Wetzlar for replacing of the front glass. Despite the high prices for Leica lenses, a front lens is usually not a big expense: A 35/1.4 front glass is around $300, a 90/2 APO front glass is around $600, and the Notilux can be as high as $1,000.
While I have had my front shade of the 50mm f/0.95 and the front barrel replaced three times, I never had any major damage to the front lens (if the front barrl gets a dent, the 60mm filter screw gets a dent and you cannot fit a filter onto it).
ND filter or color filters
You may want to apply colored filters for black and white photography, or an ND filter for photographing at f/0.95 in sunshine. Same story with reflections, though they are usually either non-existent in most cases, or less prominent. If you use a variable ND filter and photograph against the light, expect the whole image to soften a bit; the two layers of dark glass in front of the Noctilux will cause internal reflections between the filters whihc will reduce the overall contrast.
Here you can see that the barrel is bent a bit, which is enough to make it difficult to screw on an ND filter.
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The first 50mm Noctilux f/1.2 (1966) |
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By Thorsten von Overgaard |
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The Leica 50mm Noctilux-M ASPH f/1.2 on the Leica M-D 262. © 2016 Thorsten Overgaard. Photographed with Leica M 240 with Leica Cine 100mm Summicron-C f/2.0 and Macrolux adapter ... and a Taylor Baby guitar in the background.
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The Leica Noctilux-M ASPH f/1.2. Only 1,700 was made, price these days are about 25,000$ |
The first Noctilux f/1.2 ASPH
Helmut Marx and Paul Sindel designed the worlds first low-light 50mm lens, the Noctilux f/1.2 (part no 11 820). After 1,700 were produced, the f/1.0 was introduced.
The aspherical surfaces of the f/1.2 (front glass and rear glass) was made on a grinding machine that had to be operated manually and of which there existed only one. This is why it is called "hand-grinded".
The production of the Noctilux f/1.2 basically relied on one man (Gerd Bergmann) who as the only one could do the aspherical surfaces by hand. First the surafeces were grinded on the manually operated machine, then the last polishing by hand.
Diner 101 in Los Angeles. Leica M-D 262 with Leica 50mm Noctilux-M ASPH f/1.2 (1966). © Thorsten Overgaard.
The f/1.2 was the first lens tohave been specifically designed to provide high contrast at f/1.2. Previous attempts by other brands resulted in f/1.4 designed lenses opened half a stop extrae, or nine-element heavy lenses that really didn't do the job.
Leica 50mm Noctilux-M f/1.2 (1966). © Thorsten Overgaard.
But also Leica didn't find the f/1.2 to solve all the problems of ultra-high-speed lens, so Dr. Walter Mandler designed the Leica Noctilux-M f/1.0 (part no 11 821) which was introduced in 1976 and continued all the way to 2008 when Leica lens designer Peter Karbe introduced the Leica Noctilux-M ASPH f/0.95 (Peter Karbe is also the mastermind behind the 50mm Summilux-M ASPH f/1.4 (which is actually an APO lens on top of it all) and the Leica 75mm Summicron-M ASPH f/2.0 lens. Both legendary lenses already).
Mr. Grant in Hollywood. Leica M 240 with Leica 50mm Noctilux-M f/1.2 (1966). © Thorsten Overgaard.
With the Leica 50mm f/0.95 something happened to the Noctilux prices. The Noctilux f/1.2 used to be $5,000-$7,000 around 2008-2010. The Noctilux f/1.0 used to be new price $5,500 and second-hand some less.
With the new Noctilux f/0.95, the f/1.0 stabilized itself around $5,000-6,000 second-hand while the Noctilux f/1.2 went to $22,000 in 2016 and seems to be on a never-ending rise.
The drawing for the Leitz NoctiluxM f/1.2
Depth of Field and Bokeh of the Noctilux f/1.2 ASPH (1966)
Here is how the Noctilux f/1.2 looks at the different f-stops. The bokeh and depth of field is almost identical at f/1.4 and f/1.2 (see comparison further down).
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| Noctilux at f/1.2 (1966) |
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| Noctilux at f/1.4 |
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Noctilux at f/2.0 |
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| Noctilux at f/2.8 |
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Noctilux at f/4.0 |
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| Noctilux at f/5.6 |
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Noctilux at f/8.0 |
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| Noctilux at f/11 |
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Noctilux at f/16 |
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That extra half stop of f/1.2
Now, you may wonder how much difference the step from f/1.4 to f/1.2 does for the Noctilux. After all, at the point of making the Noctilux f/1.2, that small step was the actual breakthrough.
It was meant as a low-light lens, so the extra light coming in was the selling point. Of course also the breakthrough that Leica could make an even more light-strong lens than previously (and more light-strong than others) was a statement.
Today where we have high ISO, we're more interested in how the depth-of-field looks, and the bokeh. What is the signature of the Leica 50mm Noctilux f/1.2..?
Depth of Field and bokeh
Notice the immediate background behind the roses. The glass to the left, the wooden oval frame of the chair behind the glass. Also, notice the light yellow sparkle to above right of the rose (which is slightly smaller at f/1.4).
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| f/1.2 |
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f/1.4 |
f/1.2
f/1.2
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f/1.4
f/1.4
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In the last close-up crop of the rose, if you can imagine if this was the skin on a face. You may then realize one of the advantages of an f/1.2 lens for portraits. You see the lines at f/1.2, but they are not as dominant. In other words; you will make the subject look younger at f/1.2.
With some slight change in the light between the two, you notice the rose is the same exposure, but the table cloth is darker in the f/1.2 photograph. This is the edge of the lens.
How to put a ND filter on the
original Leitz Noctilux-M f/1.2 (1966) model
The Leitz 50mm Noctilux-M f/1.2 doesn't have a filter screw thread but takes Series VIII (Series 8) filters. As you surely want to use this lens also when there is much light and even sunshine, you need to get an ND filter for it.
(In the 2021-remake of the lens - see further below - the updated lens has a E49 filter tread, allosing to use normal filters).
A 49mm B+W ND-filter (3 stop or 8X) attached with isolation tape on the Leica 50mm Noctilux-M f/1.2. © 2016 Thorsten Overgaard.
Actress Claude Racine. Leica M-D 262 with Leica 50mm Noctilux-M f/1.2 (1966). © Thorsten Overgaard.
The problem is if you don't have the (also) rare lens shade 12 503, because that's what is holding the filter in palce. If you don't have the lens hood, you either get one on eBay or from a vintage store like Leica Shop Vienna. It will set you back $4,000 or more because the lens shade is also vintage and rare.
The other possibility is to take a Series VIII filter or a 49mm filter and stick it to the front with isolation tape. The reason you woud use that and not duck tape or something is that it is flexible and easy to put on and off. For cameras in general, black isolation tape is the one to use to cover logo's, text and so on.
A 49mm B+W ND-filter (3 stop or 8X) attached with isolation tape on the Leica 50mm Noctilux-M f/1.2 (1966). © Thorsten Overgaard.
The lens shade (12 503) for the Noctilux f/1.2 (1966) is (also) a collectors item. They sell for $4,000 to $5,000 on eBay.
Actress Claude Racine. Leica M-D 262 with Leica 50mm Noctilux-M f/1.2 (1966). © Thorsten Overgaard.
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The new 50mm Noctilux f/1.2 ASPH
"Heritage" version
(2021) |
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By Thorsten von Overgaard |
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A remake of the 50mm Noctilux f/1.2 ASPH was eleased in January, 2021 in Silver and Black (and a "Glossy Black" black paint unlimited version in November 2024 as well). The silver version is collectors item as only 100 was being made, so that one make sense as a collectors item. The original 1966 version in silver sell in the range of $80,000 and is extremely rare.
Remaking a lens that was not performing terribly well when it came out, and making no improvements to the optical design, I personally find is missing the boat. I've mentioned a few times to people at Leica, when I first heard about the planned remake from outside sources, that "making a new updated f/1.2 Noctilux would be interesting becuase it would have the Noctilux feel but could be as perfect as the f/1.4 Summilux". I really feel Leica could have made a great performing low light lens, yet compact, yet a Noctilux.
Good thing they updated the Series VII filter on the original to E49 filter size. Though, they kept the snap-on shade instead of making a more firm E49 (or outside screw) shade. (The lesson from the 50/1.4 ASPH BC limited edition was that the 'original' snap-on eqsily fell off, why Leica later made a replacement program so one could send in the shade and get it fitted for free with an E43 screw).
This is a way to get to own and use an else expensive lens ($30,000 - $60,000 secondhand) for much less. The relevance can be compared to the 35/1.4 ASPHERICAL (also known as "Double-Aspherical" or "AA") which is the original old handgrinded ASPH-version ($25,000 second-hand), whereas the current 35mm f1.4 FLE model ($6,000 new) is unlimited and overal better. Though, the AA is rare, and because it is hand-grinded ASPH surfaces, it will have an uneven look from lens to lens. The 50mm Noctilux- f/1.2 ASPH original 1966-model is likewise handgrinded while the current 2021 model is machine-grinded. Another remake of a classic lens is the 90mm Thambar which is likewise a un-improved optical design. In this context, the 35mm f1.4 FLE makes sense as it is an actual new lens, performing overall better than previous models.
The 50mm Noctilux-M f/1.2 ASPH
"Heritage" version 2021 in black (405g, $ 7,695 ex sales tax, or Euro 6.950,00 incl 19% VAT, limited to 1,800 pieces) and silver version (598g, $16,395, limited to 100 pieces).
Ventilated shade for the f/1.2 Noctilux
I make the "ALWAYS WEAR A CAMERA" E49 ventilated shade in black painted alu or glossy black painted brass for the Leica 50mm Noctilux f/1.2 ASPH as the new remake of the lens has a 49mm filter tread.
The "ALWAYS WEAR A CAMERA" E49 ventilated shade in black paint
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Video: The new 50mm Noctilux f/1.2 (2021) |
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Hosted by Hosted by Leica Product Specialist, Antonio Di Benedetto
and Pro Imaging Specialist, John Kreidler. |
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The Leitz Cine 50mm Noctilux f/0.95 |
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By Thorsten von Overgaard |
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Resources: |
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www.leitz-cine.com website |
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As of June 2019, a wide range of the Leica M lenses have become available as cine lenses, unique packaged for that specific use. This includes the Leica Noctilux f/0.95 as a 0.8 cine lens.
Leitz Cine introduced adapters for Leitz Cine M-Mount for ARRI ALEXA Mini & AMIRA ($1,300), as well as Leitz Cine M-Mount for Sony VENICE Camera ($1,300).
Leitz Cine 50mm 0.8 ($15,800), the cine version of the Leica 50mm Noctilux f/0.95.
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The Leica 50mm Noctilux f/1.0 (1975) |
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By Thorsten von Overgaard |
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The 1975-2008 Noctilux f/1.0 era is divided into four designs of the exterior of the lens though the lens design itself remains the same (though a rumor has it that the first lenses were of a different type of glass): The first three models were with an external lens shade. The first one with a bayonett lock-on mechanism characterized by the two chrome metal pins, then later replaced with a clip-on type with push buttons and a grove on the lens barrel (or one can also use a screw-on lens shade via the front filter screw thread).
The front screw thread was 58mm (E58) till serial 2919656 (circa 1982) and then extended to 60mm (E60) onward, perhaps because the wider diameter was less prone to vingnetting when filters were attached. From 1993 the Noctilux-M f/1.0 was fitted with a built-in lens shade.
The White Horse in Doha, Qatar. Photographed in the last minutes of the sunset light, Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. Adjusted in Lightroom 3. 320 ISO, 1/4.000, f/0.95. © Thorsten Overgaard.
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Autumn romance in Queen Square Gardens, London. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
Istanbul. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
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The Leica Noctilux models |
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By Thorsten von Overgaard |
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Resources: |
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Leica Lens compendium by Thorsten Overgaard |
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A Noctilux f/0.95 in the making at the factory in Wetzlat. © Thorsten Overgaard.
The Leica 50mm Noctilux-M f/1.0 Version 2 (1978-1982), basically an updated version of the f/1.0 with E60 filter instead of E58 so as to avoid dark corners when using filter. All Noctilux lenses have been with E60 filters since then.
Tony Falcaro resting his Leica Q for a moment. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
Opinions on aperture
I think that one of the reasons I like the Noctilux as much as I do, and use it quite a lot, is that it presents a possibility to make dreamlike photographs. I don't have much interest in documenting reality, I want to show my vision.
Opinions differ, and they change over time.
 Angry birds on the move. I took a lot of photos, and only few were in focus. I was stubborn and stayed at f/0.95 and they were stubborn, insisting they owned the street. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
To put things in perspective, the American photographer with Danish roots, William Mortensen, wrote the following in the August 1934 issue of Camera Craft, in an article on "The Miniature Camera" (as they called the Leica and the Contax then):
"The bevildered minicam owner, sets his ideal at something that looks like a locomotive headlight, and hastily acquires F 2 and F 1.5 and dreamily contemplates the day when he will be able to own F 0.9. Save for very special problems, such tupendous apertures are not of the slightest use to the average worker. Speed is quality that can be gained only b the loss of other qualities muc more important. A lens of F 2 aperture is quite incapable of obtaining the depth of field necessary for pictiorial work. Of course such a lens may be closed down till the desired definition is obtained, but the lens is such a case might as well have been F 3.5 in the first place."
An understandable voice in a time where just talking about the minicam as a serious camera was controversial; any "serious" photographers (like Ansel Adams) using large format and wet plates to ensure high quality photographs. (As a side note Ansel and William were at war back then, William Mortensen making daring fantasty photographs with added effects in the light setting and darkroom; Ansel Adams striving to make it all 100% natural and sharp in-camera, using large wooden cameras and in the mountains).
"Lost in the Diner". The Magnolia Cafe in Austrin. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
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f/0.95 - The first Noctilux with
floating element (FLE) |
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By Thorsten von Overgaard |
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The Leica 50mm Noctilux-M ASPH f/0.95 is the first Noctilux with floating element (FLE), which means that there is implemented a "floating" element in the rear of the lens to compensate for changed f-stops.
What happened when we went from film to digital was that we got glass sensors that much resembles glass negatives in the way that they are extremely precise. Film was precise enought, as we all know, for many years, but a film can bend or move slightly in the camera. For that reason, if you were really serious in the 1970's, you would order glass plates for your large format cameras: To get that extra level of accurate placement of the film plane.
Mark Simenacz and Corné van Iperen making some crucial decisions in the Overgaard Workshop in Rome. Leica TL with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
Digital sensors are all very precise placed, with a very exact and plane surface of sensors. Thus, we learned that many lenses actually had a small difference in focus when stopped down in f-stop (and some times also when the focus distance changed).
That lead to the idea of floating elements where anelement doesn't exactly float around inside the lens, but can move forward and backwards to compensate for those small adjustments.
Hence FLE (FLoating Element).
In the Noctilux, the FLE is perhaps less relevant than in a Leica 35mm Summilux-M ASPH f/1.4 FLE, because with the Noctilux you generally want to stay at f/0.95 (and wouldn't rally notice that the focus might change slightly if stopped down to f/5.6).
Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
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"A Moment in Paris". Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten von Overgaard.
The Leica 50mm Noctilux-M ASPH f/0.95 comes in this little box so that those nights you don't have it under the pillow, it can stay in it's box.
Use a ND-filter (Neutral Density)
To utilize the Noctilux at f/1.0 or f/0.95 you will need a ND-filter to shoot in sunshine. A ND-filter is a Neutral Density filter, simply a grey glass or "neutral sunglasses" for the lens. I use B+W Filters and would recommend their 3-stop SLIM ND filter.
When buying the Noctilux on eBay, notice that it's become a bad habit listing the Noctilux 11821 as an 11822, and as ASPH. And then not telling if it is an E58 or E60 lens.
If you get the serial number it's easily determined what model it is (based on the above overview), and it's easy to figure out on a photo that a 11821 is not a 11822 because the 11822 has a built-in lens-shade. In any case, it's not something that build trust in the seller before handing over 6,000 - 8,000$ which is the going price for a normal looking used Noctilux f/1.0.
My collection of ND-filters. © Thorsten Overgaard
Leica ND-filters
In 2016 Leica started delivering their own ND-filters for a series of lenses. The 60mm 4-stop (16X) ND-filter fits the Leica 50mm Noctilux-M ASPH f/0.95 and the previous version with 60mm perfect. That it is 4-stop makes it suitable for also the Leica MM and Leica M 246 Monochrom where the sensor's base ISO is 320.
With a 4-stop ND filter in sunshine you can stay exactly at 320 ISO, 1/4000 second and f/0.95 and get the exposure right. With a Leica M 240 where the base ISO is 200, it would be 1/3000 second at f/0.95.
The filter seems to have a little smaller metal edge than others, which is relevant for the Noctilux so as to make sure not to get the filter ring in the corners of the image. In practical use it seems not to have any importance.
| Leica ND filter: |
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B+W ND filter: |
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No ND-filter: |
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| The three images show the 25% of the upper top left frame of the image. As can be seen, botht he filters affect the corners, as well as the colors. |
What I did notice when I got the Leica ND-filter was that it had a blue tint. ND-filters means Neutral Density, which imply that they don't affect the colors or contrast. As you can see in this test, both the B+W and the Leica ND filter affects the colors slightly. The Leica more to the blue side.
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No ND-filter: |
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The Leica ND filter is $150, the B+W is $110 and Heliopan is $117. The 60mm range doesn't offer that many different filters as for example 46mm where you can get filters from $40 and up. I've tested several different ones and I haven't found the quality was better in more expensive filters.
The way to measure your ND-filters is to mesure them with a light meter. The one on the picture is a B+W variable fitler where the markings are in best case science fiction, in worst case just for decoration. The Heliopan variabel ND-filters are a little defined in their markings, but also ot precise. The non-variable ND-filters are mostly 0/0 - 1/3 - 1/2 stop off what their markings say. © 2013-2016 Thorsten Overgaard
Florida. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
Measure your ND filters
I also know from previous tests of ND-filters that a 3-stop ND filter from B+W or Heliopan isn't necessarily exactly 3 stops. They are often off with up 1/3 to 1/2 stop.
The lesson from this is that you should use a WhiBal card to set the white balance with the filter mounted, and if you use external light meter, you should measure your ND-filters exact strength so as to be able to calculate the exposure. As for the exposure, it's 1/3 - 1/2 stop so you will be able to adjust that in Lightroom later. But just in case you want 100% precision, don't rely on what the ND filter say, but what it measures.
From my ND filter test day in Bali with light meter and Kodak Greycard (for light measurement). © 2013-2016 Thorsten Overgaard
Leica cameras without ND-filters
Ironically, just as Leica Camera AG announced that they would be making ND-filters, they also introduced am new strategy on their cameras. The Leica SL (2015), Leica Q (2015) and Leica M11 (2022) are able to photograph without the use of ND-filters dues til electronic shutter that go to 1/16,000th of a second.
The Leica Q is designed with a fixed f/1.7 lens and an ISO and fast electronic shutter so you don't need an ND filter for that camera, even in sunshine.
The Leica SL is designed with a low 50 ISO and a high electronic shutter speed of up to 1/16,000th of second so you can use that camera without an ND-filter, even with a Noctilux f/0.95.
"Jaywalking in the People's Republic" give and idea how a wide open lightstrong Leica lens treats highlight and shadow. With Leica M 240 and Leica 50mm Noctilux-M ASPH f/0.95 and B+W Neutral Density filter. © Thorsten Overgaard.
Leica 50mm Noctilux-M f/0.95 on the Leica SL
The Leica SL (2015) and Leica SL2 (2019) and Leica SL3 (2024) have become great cameras for those who like to use a Leica Noctilux, but are concerned about focusing it. Witht he built-in EVF of the Leica SL models, focusing becomes rather easy. And the Noctilux size and weight seem to balance well on the Leica SL models.
The EVF that can be attached to the Leica M240, Leica M10 and Leica M11 of course also is a possibility to increase to focusing accuracy.
Leica 50mm Noctilux-M ASPH f/0.95 on the Leica SL2.
© Thorsten Overgaard.
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Ben Quorn in Overgaard Workshop in London, October 2015. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
How 0.05 separates the world: Getting the f/1.0 or f/0.95 -
The big Noctilux question of course is, "should I get the f/1.0 or the f/0.95". A very relevant question we all should ask ourselves, and one I asked myself.
I always wanted both the f/1 and f/0.95 Noctilux but I knew the f/0.95 was better. "But the f/1 is historic", I thought, and I was looking if it had a special look for me, like the 50mm Summicron f/2.0 from 1964 I have used a lot (Version II it is called).
Bosco Wong. Hong Kong, November 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
Fortunately I got the f/1.0 first from a friend who had one that was like new and didn't fancy to use. So I shot with that for almost a year, then Camera Electronics in Australia had me do a workshop there and asked teasingly if I wanted to sell it ... they had three of the new f/0.95 in stock. That is what happened, and I have been using the f/0.95 ever since. And don't miss the f/1.0.
My conclusion is that the f/1.0 doesn't posess a special look that distinguishs it from the f/0.95 or makes it special. They have the same look, just the f/0.95 has a better look in my opinion.
 Jakarta, Indonesia. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
What I think might have happened if I had started with the f/0.95, I would have wanted to use the f/1.0 as well and would have ended up with both of them. So in many ways it was the right sequence, the way it happened. I got to be part of the history before I arrived to the present time lens technology. I'm nostalgic, but I'm also practical.
My experience with them both is that the f/1.0 is special, but the 0.95 has the same special look, just better sharpness in details, less dark corners, better control with light and bokeh.
So all in all there is no special look of the old Noctilux f/1.0 that the new f/0.95 doesn't have.
The Wedding Photo. © Thorsten Overgaard, Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.
That's my story. If one feels attached to the f/1.0 - feels that there is something to be gotten and learned from that one, a history to be part of - I would get it to get over that. And I would get the 60mm filter diameter model, not the 58mm and not the latest version 60mm with plastic hood. The older 1980's model with bayonet hood and 60mm filters is the one I wanted, and the one I had.
The older 60mm filter diameter Noctilux has a great balance and feels just right on the camera. I see many who over-protect their f/0.95 Noctilux, and I understand why. It has a different weight distributon and you fear that it might get damaged easily.
The streets of Seoul, December 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
 Istanbul, September 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
However, I decided to treat it like any other lens. Meaning it bumps into things, scratches walls and lays on the floor if it has to. These are handmade lenses, so they can be repaired for scratches, bent lens shades and all. Any piece of a Noctilux can be replaced or repaired. I had my lens shade bend and Leica Customer Service put it back to shape in 5 minutes. Later I had them take it apart, clean it and make sure it was 100% adjusted. They changed the bayonet as well, all in all for 254 Euro. They might be expensive lenses to buy, but they maintain their value and the spare parts are not expensive.
Doing portrait work at the Overgaard Workshop in London. Here the subject is workshop participant Richard Harris who also happens to have a very intersting blog. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.
If on the other hand one does only consider the f/1 to save money, or one think the f/0.95 is hard to get, then I would simply get the 0.95 straight away. Rumor is that Leica does not make money on them, and if true, that means they will change or go up in price. And historically, the f/1.0 cost the same or more now second-hand as it cost from new when they still made them. So as for price of the lens ... it's just a consideration. In real life, if it was 5K, 11K or 22K it is just a matter of decision to get it.
Berlin. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
Being part of Leica history
For me I feel it is important to be part of the Leica history. I want to be in the place of a photographer using a Leica M3 with a (now) classic lens. I mean, I want that too. I don't just want to skip all that history. And that is what I mean when I say plot your own Leica lens family tree. You may likely want to benefit from the latest and best (as in preceise) lens design, but you have to plot your route to get there so you don't miss out on the old lenses. If you feel like me, that you want that experience.
"The Art Dealer", Seoul December 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard.
I shot almost exclusively with the Leica 50mm Summicron-M f/2.0 with the Leica M9 for two years after the M9 came out. I was afraid to look Peter Karbe in the eyes when I saw him at the factory. I felt guilty shooting with an old Mandler-designed lens when Peter Karbe had made so outstanding new lenses. For my part I happened to have the 50mm in a Leica M4, and despite the less perfect colors rendered through old glass, I made it my look and found some qualities in shooting against the light with this lens that replaced my previous preferred kit, the Leica 80mm Summilux-R f/1.4 that I had used on the Leica R9 with both Fuji Astria slidefilm and the DMR digital back.
Autumn in Denmark. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.
Shoot it till it dies
I am happy to say that I have shot the Leicaflex film cameras, the Leica R9, the Leica 80mm Summilux-R f/1.4, the Leica 35-70mm Vario-Elmarit-R ASPH f/2.8 and probably some other lenses, to a point where I am done with them. I've used them, but I have also realized that newer lenses and new kits as the Leica M9 and Leica M works for me.
"Light of New York". Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © Thorsten Overgaard
For me it is important, if I have that itching feeling in the fingers and my heart beats faster, to get that camera or that lens. To be part of the hype, the history, the silliness, the next big thing or whatever it might turn out to be, while is is still alive. To have been part of it, to have tried it. It's like having been in New York in the 80's (which I regrettably wasn't) when the art scene was glowing. I wasn't, but I was alive during the Punk Rock scene in Europe. I didn't enjoy it, but it is great to have been there.
If you understand what I mean. All creation is a process, which means that you are wiser and better equipped after you have done something. So it is important to do things and try things, as a mean to get on with the next step.
Tuesday 1 October 2013, fresh off the airpain from Paris: Copenhagen Morning 8AM Bicycle Warriors. © 2013 Thorsten Overgaard. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
Paris Cafe, Hamburg, Germany, January. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.
San Francisco, February 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
Sunday morning in London, October 2015. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2015-2016 Thorsten Overgaard.
My dentists window. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © 2017 Thorsten Overgaard.
What is the Noctilux signature?
Maybe the reason Noctilux is so special is that it is balancing on what is physical possible. A so wide opening of the lens that the light must be absolutely out of control, yet controlled with magical skills and super glass so that what is essential is actually under full control.
British composer and producer Barrie Gledden. © 2013 Thorsten Overgaard. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95
More light, higher performance, but compact
Since the 50mm Noctilux f/1.2 with the asphere technologly of 1966, the development of lenses has moved towards higher performance through glass technology since 1975, and with addition of further glass technology, floating elements, APO, more compact focusing mechanisms inside the lenses and ways to mount the lenses, in recent years, we arrive at what is possible today. The Leica 50mm Noctilux-M ASPH f/0.95 and The 50mm APO-Summicron-M ASPH f/2.0 to mention the two most extreme lenses: Both requires new technology in the production to grind and seemble the lenses with sofar unheard tolerances.
It is worth noticing that the design team at Leica Camera AG aimed at making the 0.95 Noctilux the same size as the f/1.0, but having to increse the aperture hole through the lens 5% and include shorter focus tread and a floting element!
From Peter Karbes lecture on the Noctilux and how the want for fast lenses drive technology. September 2010. © Thorsten Overgaard.
Macro photo of a rose using the Leica M10 with OUFRO macro adapter and Leica 50mm Noctilux-M ASPH f/0.95 FLE at f/2.0. © 2017 Thorsten Overgaard.
Why the f/0.95 is breaking the sound wall of lens design
The f/0.95 is an engineer concept rather than a photographic or light-technical term. To explain the principle simple; a 50mm lens means that the distance from the film/sensor plane to the center of focus in the lens is 50mm. Likewise, there is 400mm from the film/sensor plane of a 400mm lens to the center of that lens' focus axis. To most of us, 50mm is an angle of view, but to an engieneer that is what the 50mm refers to.
Midnight in Taiwan. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
And in the same 'complicated' manner, the f/ refers to the diameter of the "hole through" the lens, compared to that lens length. So a 50mm f/2.0 has a 25mm diameter "hole through" whereas the f/1.0 has a 50mm 'hole through' ... and a f/0.95 has a 52.6mm 'hole through.'
Rob and John
in the sunny December weather in Santa Barbara, December 2014. Leica M240 with Leica 50mm Noctilux-M ASPH f/0.95
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The same goes for each of the following f/ stops. So f/2.8 is 50mm divided with 2.8, f/8 is 50mm divided with 8 and so on. Each step is a halving of the amount of light passing through the lens (which is the only real measurement of value for a photographer; the amount of light rather than the diameter).
Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95
Horse by moonlight in Qatar. © Thorsten Overgaard. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95. 6400 ISO.
Exotic lens design and low light shooting
Photography is an interesting art form in that it allows us to create great images and aesthetics with much fewer technical skills than the classic painters spent years to learn. And we can do them in seconds where a painter must use days, weeks or months.
Boston: "Home, Sweet Home" - I was waiting 10 minutes in wet snow for someone to walk into my composition to the right of this picture when I turned left and saw this house with the VW in front. I had been walking for two hours in wet snow and my face, hair, glasses, camera and viewfinder were so wet I could hardly focus. I shot two frames of this and then turned back to wait for someone walking in to my composition.
A large part of the technique of how to 'describe' light rays and the micro details in an image and manage light to create an overall pleasing and aestetic - and often truthful - dublicate of reality lies in the hands of the lens designers such as Peter Karbe. As Erwin Puts write about the 1993-2008 version of Noctilux-M f/1.0 in his Leica M Lenses book: "One could say that the 50mm f/1.4 draws with a very sharply pointed pen and the Noctilux with a slanted pen to produce broader and smoother strokes. A special characteristic of the Noctilux is its shape preservation in out-of-focus- areas, bringing a remarkable depth of vision. Its penetrating power in ‘unavailable’ light produces stunning images that show finely graded details in lowly lit areas of the scene. "
London photographer and a known face from his work at Leica Store Mayfair, Arteh Odjidja posed for me in the rain at the "Coffee & Leica Freaks Meetup". Always stylish in person as well as in his work which can be seen at the website https://arteh.co.uk. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.
For some photogtraphers the exotic and very unique characteristics of the Noctilux look is the reason to acquire this lens. Others see it as a means to low light photography. Truth is that it's both a low light lens and an unique fingerprint.
Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95, closest focus of 1 meter @ f/0.95
Steve Huff has performed some interesting reviews and comparisons between the different Noctilux lenses from Leica and the other available low light lenses from Noktor and Voigtlander:
Steve Huff: The Leica 50mm Noctilux-M f/0.95 Lens Review
Steve Huff: The Noktor 50mm f/0.95 Lens review Diary
Steve Huff: Leica Noctilux-M Classic f/1 vs Voigtlander Nokton 1.1
Steve Huff: The Voigtlander Nokton 50 1.1 Lens Review
Erwin Puts has written some interesting reviews and articles on the Noctilux lenses:
Erwin Puts: Noctilux-M 1:1/50mm (1966-1975 version)
Erwin Puts: Leica 50mm Noctilux f/1.2 The Untold Story (1966-1975 version)
Erwin Puts: Noctilux-M 1:1/50mm (1993-2008 version)
Erwin Puts: Leica Noctilux-M 50mm f0.95 ASPH (present version)
 LFI issue 2/2010, February 2010 deals with the Noctilux story as well in a four page article. You can get hold of LFI backissues at www.LFI-Online.de
If one feels like it there is a Flickr group displaying images taken witht the various Noctilux types.
List price of the Noctilux-M ASPH f/0.95 is 10,995$ at B&H Photo Video.
Leica M9 with Leica 50mm Noctilux-M ASPH f/0.95 at closest distance of 1 meter @ f/0.95
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Noctilux exotic prototypes |
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By Thorsten von Overgaard |
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As a side note, a 75mm "Noctilux" f/0.85 prototype was produced in the late sixties (for Leica M3), as was a few prototypes of a 52mm "Noctilux-R" f/1.2 for the Leica SLR cameras. But the Summar 75mm f/0.85 was actually already made in 1933 to be used for the 1936 Berlin Olympic Games; but for video projection of the games to a nearby press room. The lens was repordly so soft wide open (and large: 90mm in diameter) that it was useless for ordinary photography.
The 52mm f/1.2 Noctilux prototype made for the Leica R system in 1959. Didn't work that well, but a few years later, they figured it out with the Noctilux-M f/1.2 that came in 1966.
 Sunset over Greenpoint Avenue, Long Island, New York. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95 FLE. © Thorsten Overgaard.
90mm Noctilux
The 1965 ELCAN-M Noctilux f/1.0 on display in the Leica Store Seoul. (produced for the US millietary, designed by Dr. Walter Mandle). © 2013-2016 Thorsten Overgaard.
35mm and 75mm Noctilux
The Leica 75mm Noctilux is a reality and you can read my article about it here: "Leica 75mm Noctilux-M ASPH f/1.25". The expectation is that a 35mm Noctilux will come later.
I've also been playing around with the 50mm Noctilux f/0.95 on the Leica TL2 and the Leica CL to try to get an idea how it will be. On both those cameras, the 24MP sensor in APS-C format crops the 50mm to a 75mm. But I do expect the lens design to be improved, more precise, and the bokeh more smokey.
Ellen von Unwerth with a "75mm Noctilux". Leica TL2 with Leica 50mm Noctilux-M f/0.95 ASPH (which is a 75mm crop due to the APS-C sensor on the Leica TL2). © 2018 Thorsten von Overgaard.
See Jono Slack's sample photos from using the different prototypes over a year.
See my video on Magic of Light Television (March 15, 2018) on using the 50mm Noctilux f/0.95 on the Leica TL2 (thus making it a 75mm due to the cropped 24MP sensor on the Leica TL2).
Inside the Swiss Cafe in Santa Fe. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2014-2016 Thorsten Overgaard
In the same breath I should mention that Leica as a special farewell guesture to the 1975-2008 Noctilux era made the last 100 Leica 50mm Noctilux-M f/1.0 lenses a special edition batch in a special box, selling for the price of 10,000$ each, most of them snapped up by collectors.
The Leica 50mm Noctilux-M f/1.2 is a rare one to get. It's not a great(er) lens compated to the latter f/1.0 and f/0.95, but it is extremely rare. However, a real rare version of this lens was sold at Westlicht Auction 144,000 Euros ($186,100) - a prototype chrome Leica 50mm Noctilux f/1.2.
Now that I said chrome Noctilux, I want one!
Lunch in Bangkok. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
The Noctilux design dates back to the Leitz 50mm Xenon f/1.5 screw mount lenses that was produced from 1936-1950 (Schneider) and the Leitz 50mm Summarit f/1.5 lens from 1949-1960. For real lens geeks, the first 1966-Noctilux was a classical double-Gauss six element design, except that the first and the last lens surface was aspherical. When Mandler designed the 1976-replacement, he reverted to the Xenon design in the rear of the lens. (The old Taylor & Hobson design that became the 1935 Xenon f/1.5 became the first in a long consecutive line.
The bird man. Leica M Monochrom with Leica 50mm Noctilux-M ASPH f/0.95 with B+W 3-stop ND filter. 320 ISO, 1/2000 second. © 2013-2016 Thorsten Overgaard.
The characteristic feature was that the last element of the classical Gauss design had been replaced with two thin bi-convex lenses (this design was much used by Japanese manufacturers of superfast stasndard lenses after the war). The Xenon, with coating, became the Summarit f/1.5, replaced in 1960 by the first Summilux, which actually was engraved "f/1.5" in the very first specimens. This design was clobbered by the Japanese, and in the winter of 1960-61 it was surreptitiously replaced with the differently designed, but still seven element, Summilux that was current until 2002 - probably the Leica record).
One of 40 pieces of the 50mm Leica Noctilux-M ASPH f/0.95 Limited Edition Silver. It may be hard to get hold of, though the bag can be ordered online at Leica Shop Vienna.
Noctilux Special Editions
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20th Anniversary |
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25th Anniversary: The Vienna Limited Edition has a different barrel design.
The Leica Dupont 0.95 Noctilux
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Leica Shop Vienna Noctilux-M ASPH f/0.95
Silver Chrome Limited Edition (item no 11.698)
Celebrating the 20th anniversary of the Leica Shop Vienna on June 16, 2011. 40 piece Limited Edition; 20 of them came with a matching Leica M9-P silver, another 20 pieces came with a Leica M3-P analog film camera, and perhaps 10 or less came without a camea.
It was, and is, a beauty. However, when Leica three years later announced that the silver chrome Noctilux f/0.95 was now available as a normal edition in stock (for $400 more than the black edition) it took some of the glory away. And probably the collectors value as well for those collectors who had bought the limited edition.
Five years later, Vienna strikes back at their 25th Anniversary, this time with 50 limited editions of the Silver Noctilux, but with a different barrel design. The price for this was set to $15,000.
For their 25th anniversary Leica Shop also offered 25 sets of Leica M-A (Typ 127) in "hammer tone" body, with the silver Noctilux ($37,000).
The Dupont Limited Edition 0.95 Noctilux
Leica also came up with the ida of making a Dupont 0.95 series of lenses (as well as lighters, pens and keyrings). It took a long while for it to move from prototype and promotion piece to acutal lenses. In actual fact, I have never seen any of those Noctilux lenses in the real world (bot some do exist).
The special idea of the Dupong 0.95 edition is that all engravings are blacked out. Only the essential aperture f/0.95 is engraved with white paint. The barrel design is also slightly different. The series consist of 95 numbered pieces.
The Von Noctilux limited edition
I would love a Noctilux Solo. A Noctilux f/0.95 with no aperture ring inside the lens. Just wide open, and instead of the aperture mechanism, one can turn an internal ND filter on and off (such a mechanism exists on the 19mm f/2.8 R-lens that had the possibility to change between no filter, internal colored filters, or ND filter). I might actually buy a set of screw-drivers and make some myself. Such a lens would follow the lens designer Peter Karbe's advice, "Never stop down a Noctilux".
Other Noctilux lenses
Other brands like 7artisan have made "Noctilux-like" lenses. The 50mm 7artisan f/1.1 is a fun lens that is on the (lack of) perfection level of the Leica 50mm f/1.2, but with an even more lively bokeh. There is also the 75mm 7artisan f/1.25 tele lens that I have been using for a while and found not that exciting.
Thorsten von Overgaard takes on the 7artisans 75mm f/1.25 vs the Leica 75mm Noctilux f/1.25
Thorsten bought himself a 7artisans 50mm f/1.1 and took it for a swing. Review and user report.
Santa Barbara Skater Park. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
Noctilux in silver edition
From September 2014 the Noctilux was available in silver as well.
From September 2014 the Noctilux is available in silver. Same weight as the black Noctilux edition.
Santa Barbara Skater Park. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95
 Leica M9 and 50mm Noctilux-M f/1.0 (1993-2008 edition), 400 ISO, 1/125 second.
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