I’ve studied many images created with this lens — on the Leica M240, M9/M-E, and M8… and even on non-Leica cameras.
The verdict:
This is an optically astounding lens that, in the right hands, is capable of impressive results in combination with any camera (contrary to popular belief, the results are not only evident in large prints of images produced with high megapixel cameras).
It’s all the more impressive when you consider how small this lens is. It’s the combination of optical excellence and compact size that is the hallmark of the Leica ethos.
—Peter.
Prosophos 
It is a beautiful lens, and about the most beautifully made lens I have ever handled too.
Peter – I’m curious to know what you feel about this lens in relation to film photography. Do Leica’s optical priorities for this lens translate as brilliantly, or are they partly lost on emulsion?
I honestly don’t know Linden. I haven’t seen enough sample images… yet.
I suspect, though, that a difference will be discernible (if I go by my experience with the other modern Leica lenses on film).
Since I’ve seen Christmas tree and ornaments in some of your other photographs Peter, may I assume Santa has dropped this goodie by a few days early? Or maybe under the tree in a week or so?
Have to agree that this one is a masterpiece. When you compare its optical performance and especially size to the Zeiss Optus there is no comparison. The little I know about this lens after watching Peter Karbe’s video about its creation is that it was made to extract all that the Leica Monochrom’s sensor is capable of producing. And I would think it will be just as beautiful on the M-E.
No chance I’ll have one Duane, unless I sell off all my other lenses.
Peter, do you still have your 50 Lux? And what are your thoughts about the 50 Lux vs. the 50 APO Summicron?
Yes I still have the 50 lux. It’s still the best all-around 50mm lens in my estimation.
Peter Is there any way you could rent one, would like to see what you could do with it.
I’d love to try one Pi. I’ll see if I can borrow one, but there aren’t many options available to me.
it is a nice lens for sure. i tried it back to back with my Lux and i prefer the Summilux.
The lux would be difficult to let go… I’ve tried, and I always come back to it.
+1….for value for money (in the scheme of top line lenses!!) it’s very hard to beat.
Yes… suddenly (with the appearance of the 50 APO) it looks “inexpensive”… LOL!
i can just say this : the guy that sold me his 50 Summilux ASPH to finance the APO regrets deeply giving his Summilux away. While it may be true that the APO is optically perfect, i still prefer the look the Lux gives me wide open. there nothing quite like it, a very unique piece of glass.
Agreed. A marvel of a lens, and very different than the 50 lux asph. Neither is perfect, though one might argue that the APO ‘cron is very close. I currently have this lens, as it’s remarkable on both the M9 and MM (not to mention on my A7s), particularly for color work
Speaking of the A7S — in case you weren’t aware Ashwin — I sold it (surprise, surprise…). I really liked it’s rendering, but I’m still not sold on the Sony ergonomics. And, at base ISO, I’d still choose my M8 and M-E.
I traded a 50 lu asph and 75 lux to get one of these…no regrets, though there really isn’t a correct answer between the 50 lux asph and the 50 APO
Ashwin, I may have to tap you for some original DNG files.
I must say, though, I couldn’t imagine giving up the 50 lux ASPH… it’s got such a great combination of smooth and sharp.
I think the APO renders more in the same style and quality at the Otus – high contrast super sharp and super corrected on plane of focus and the out of focus areas stay intact, if you will. The Lux introduces some curvature, blurs OOF areas with a bit more of a nostalgic look, but offers great sharpness, contrast and colour, AND that extra whole stop – invaluable for CCD and film.
I have, use, and like both. I think I probably have a little more love for the Lux because of its qualities and it’s – in Leica money! – ‘value for money’! (Dare I say that?).
The 50 APO is really a triumph of quality, form and size. It is I think too the nicest build quality and feel of all the current Leica lenses.
I just received mine not too long ago and it’s almost surreal how well this lens renders. I was expecting sharpness, but what’s striking is that it seems to achieve it without overdoing the contrast or giving an unnatural separation of foreground and background (at wider apertures). As though looking at a picture taken with the APO makes you feel like you have better eyesight.
The most unexpected thing however was the color rendering. It’s hard to describe, but it almost transparent… as if you cut a frame out of reality and put it into your computer.
I’ll be shooting everything I can around here in Montreal and I can’t wait to see what I get.
Peter, i dont know how highly people value ming thein’s reviews, but i found it interesting that he found the older zeiss planar f/2 to be rather close to the apo summicron in many respects. And goodness, for the money? Have we all gone crazy? I love the summilux 50, and cant say that a lens will make me that much more satisfied with image quality. And as you raise the issue re emotional content in your latest post, i certainly wouldnt trade it for all the micro contrast/detail in the world. It is an interesting comment on the state of leica-love, of which, ive plenty.
Can’t say I disagree with anything you are saying Henry. At the same time, my goal has always been to get the emotional content in a technically superior way, so I’m constantly tempted by advances in lens design, etc.
And, to answer your question: Yes, we’ve all gone crazy!
I think it’s a challenge. I have now had a stable Leica kit for about 2 years (since my days of experimenting heavily using various lenses with the Monochrom), and now I seem to have very little desire to move or change gear. The only new lens that I snagged with the 50 APO, trading the 50 lux and the 75 lux for this. Otherwise, my kit has been quite stable.
You have great knowledge regarding gear, so there’s really no advising you beyond that I believe that certain lenses can be bonded to you, and in their IQ/rendering, can provide/imbue emotional context to help paint your desired context. In my opinion, the summicron lenses tend to be more behaved, more neutral, more transparent, while the lux lenses tend to have more character and provide more pinnace/style. Neither is right or wrong. For me, as I have gotten more into photography, I have drifted more towards summicron designs, and I have narrowed by kit to a 21/35/50/90 set in both modern and vintage flavors. Granted, that’s a lot of gear, but I am feeling and have felt very comfortable in my set of options.
If the 50 APO calls to you, you should try it if you can pull it off. It’s perfection, but at a huge price. I am not sure, however, that it gives you more than the 50 lux asph, which has more character in its rendering. For me, I settled on a 28/50/90 cron ASPH kit, and I have the 35 FLE and Noct f/0.95 for that lux look.
The M9 and MM are in my kit forever, or really, until they die.
Really, my lenses, at this point, are basically stable. Not to say I’ll occasionally test out something else out of curiosity, but I doubt any of my photography needs anything more than what I have.
Just my $0.02…If I had to advise you, and you wanted to set yourself on a new journey, I’d consider getting the APO, or better, renting/borrowing it. It’s not a lens for everyone, but it’s build/size/IQ are unparalleled. Character is far more neutral, which may challenge you in its own ways…FOr me, how it renders colors is most important, more so than its sharpness.