And for Leica fans, there is the coveted Noctilux. The Zeiss Otus 55mm is an uncompromising lens, but a behemoth.
While we see cameras getting smaller, like the Sony A7r-series vs dSLRs, lenses have bucked that trend. Lens handling is where the 50mm APO begins to set itself apart. The 50mm APO is nicely sorted, but from outward appearances there is nothing afoot to explain why the 50mm APO costs 2X as much as a Leica 50mm F1.4 Summilux-M ASPH.
There is no wobble or play in the lens barrel. The build quality is typical Leica with a nicely dampened focus feel, a focus tab, a nifty twist & lock lens hood and the metal front lens cap. When something bugs me, I tend to spend money. In these settings the Leica 50mm F1.4 Summilux-M ASPH's corner performance can be lacking, and it started to bug me. The majority of the M-246 pictures were stopped down landscapes at F5.6. In early 2016 I bought a Leica M Monochrom Typ 246. As time marched along, nothing changed those opinions. When the Leica 50mm F2 Summicron-M APO was released, it struck me as being grossly overly priced, especially with the Leica 50mm F1.4 Summilux-M ASPH being such a good lens. 8 Elements / 5 Groups, 1 Aspherical ElementĢ93 Grams / 10.375 Ounces (without lens caps)
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