This website has been in existence (at the time of writing) for well over 3 year, but until now there hasn’t been a single proper mention of any Leica lenses, which is clearly not right because Leica-R Lenses in particular are incredibly popular for video use. I can’t try them all, but thankfully a fellow vintage lens user, Johan Cederholm (www.johancederholm.com) has a nice little set and know a thing or two about Leica-R lenses, so he very kindly agreed to share his knowledge with us! Over to Johan!
First of let me tell a bit about my background and why I decided to buy into Leica-land. I make commercials and music videos professionally (www.cinematik.se) as well as like short films for myself, all mostly shot with RED and Blackmagic cameras.
As of now I’ve got seven Leica R lenses, five primes and two zooms, which I mostly use for video. Right from the start I want to add that this lens collection constantly changes, it’s not yet finalized and probably going to grow sooner than later (vintage lenses are quite easy to get addicted to). I also want to add that these are not by any means the *best* or most expensive lenses of the series, they are more of a budget set, but in my opinion a great place to start!
I also have a Zeiss Jena lens set in M42 mount, but in mid 2014 I started looking around for something with a bit more modern look and sharper results in frame edges and wide open, I also wanted something a little bit more solid build. Nothing wrong with the Zeiss Jena’s, I still think they are lovely and use them all the time (especially the 35mm Flektogon for taking stills), but I was on the look for something new.
I knew, I wanted fully manual lenses that would cover full frame and I narrowed my search down to Zeiss Contax & Leica R, two of the most popular choices for cine-use among the stills glass. Zeiss Contax would probably have saved me a few bucks, but there was something that just made the pictures and videos shot with Leicas stand out. Some talk about a special ”Leica glow”, but it’s all very subjective and sensitive to talk about. I have since also owned the Zeiss Contax Vario-Sonnar 28-85mm f/3.3-4 (a great zoom by the way), and compared to the Leica R look I found the Zeiss Contax to be warmer, more contrasty and more saturated. On other hand, I think that Leicas are a little bit more blue/green tinted, flatter and with a nicer bokeh. The build quality is great on both, but I would say the Leicas have the upper hand. These are just my own observations and you can’t really go wrong with either choice. There are of course certain gems in both series that stand out.
Let’s now take a closer look closer look at the various Leica R lenses, which are divided into different names depending on their speed.
- NOCTILUX – Faster than f/1.4
- SUMMILUX – f/1.4
- SUMMICRON – f/2.0
- ELMARIT – f/2.8
- ELMAR / SUPER-ELMAR – Slower than f/2.8
It’s also important to know that Leica-R lenses are not actually called “Leica”. When you look at the name/model on the top, you’ll generally see either LEITZ WETZLAR or LEITZ CANADA followed by one of the names above. Do not be alarmed, these are proper Leica lenses.
A bit of history to make this less confusing: The company was originally called Ernst Leitz Wetzlar, producing microscopes. When they came up with the idea to make a camera, they called it LEItz CAmera, or LEICA for short. The company still continued under the Leitz name, but in 1980-1990s Leitz went through a lot of changes (more in-depth history can be found online), but in short photography division ending up with the “Leica Camera name”. Nowadays, many sellers on ebay name their ads “Leica Leitz”, because Leica is more recognisable name, but the actual lenses were essentially made by the same company, just with the old name.
So now that there is (hopefully) no confusion over the names and models, let’s take a look at my Leica set. My first lens was the Summicron 50mm, a great lens to start with, since it’s both quite cheap and versatile. Like the other Leica’s that I have tried so far, it’s also as sharp as I need wide open. There are two major versions of this lens, the biggest difference is that the late model (with a built-in retractable lens hood) had corrections of coma and field curvature implemented. The earlier version has a separate lens hood (you can see the pins for a lens hood on the two lenses, furthest left in the 1st picture) and is also slightly smaller and lighter. I decided on a late model as there isn’t a significant price difference, however some say that the earlier model has more character. I wouldn’t say one is better than the other; they are just different, which brings me to the question of building a matching set!
The best way to build a set that matches as closely as possible is to try and get lenses from the same era. Small changes in the lens coating formula were made over time, so if consistency is very important you should check the year of manufacturing using the serial numbers, there are sites that have this information collected. The newer lenses often got E55 filter threads too, which are the same as 55mm and it’s much easier to find step rings and filters than it is for the older Series (for example Series 7 / VII). Regarding the different bayonets (1 cam, 2 cam, 3 cam, R-only, ROM), they are simply for using the lenses on a Leica camera and really nothing to care about if you are going to be adapting them to other mounts.
Back to lens choices, other options for a standard prime of course include the faster Summilux 50mm F/1.4, which is very popular for rehousing. The Elmarit 60mm macro f/2.8 is interesting as well, a stop less light sensitive than the Summicron and a little bit more expensive, but with great close-focus capabilities (even 1:1 with a special adapter) and I have seen great photos shot with this lens at infinity as well, so might be even more versatile than the Summicron 50mm, depending on your needs.
For a longer end, I bought a late model of the Summicron 90mm, a really nice and heavy piece of glass that is super sharp and got lovely bokeh. It seems a little warmer than the rest of my set, probably because it’s newer and got a slightly different coating, but it’s nothing that can’t be corrected in post.
At around the same time I also bought a wider lens. I had a choice between the Super-Angulon 21mm f/4, Elmarit 24mm f/2.8 and older version of Elmarit 28mm f/2.8. In the end I decided that all my lenses should be no slower than F/2.8 and I have read very mixed reports regarding the 24mm (not necessarily a bad thing, but it’s originally based on a Minolta design), so I ended up with the 28mm Elmarit, a very small and compact lens that I can highly recommend! It’s is not one of the lenses that gets a lot of attention when you read about Leica R lenses, but it’s actually one of my favourites and most used focal lengths. There is a newer VII version of this lens that I have heard great things about, but it unfortunately was and still is out of my budget.
Since I shoot quite a lot with crop-cameras my next lens was even wider, the Elmarit 19mm. It was also one of the reasons why I went for Leica R instead of Zeiss Contax. In the Contax lineup we got the great, but expensive 21mm F/2.8, and the slow 18mm F/4. The Elmarit 19mm is my most expensive lens but it’s wider than the Zeiss 21mm and faster than their 18mm. This lens also comes in two versions, the VII is supposed to be really great, probably on-par with the Zeiss Contax 21mm, but again very expensive; I’d love to try one out someday! If price doesn’t tell them apart, the older one (that I got) has a larger diameter front lens and is more cone shaped, the second version is the same width all the way. If money is no issue, get the second one, but for me it was no choice really. The first version is no slouch, but I can see that improvements could be made. I think that it’s not as sharp as the other focal lengths and there is more of an improvement when stopping down if compared to the others. The bokeh is a little harsher as well and there is some vignetting, but nothing surprising. Good wide angle lenses are generally hard to find when looking at vintage lenses and they can be quite costly too.
My latest prime is a late model of Elmarit 35mm, which fills the gap between 28mm and 50mm nicely, a great focal length for a lot of different shots. Even if 28mm and 35mm can seem quite close, there is a noticeable difference. I also often use my lenses on many cameras at the same time, so having many can be handy. Saying that, this lens is one of my least used primes, not because it’s bad in any ways, I just prefer to go wider or more tele most of the time.
If I were to build a barebones set with the knowledge that I got today, I would probably focus on getting the 28mm, 50mm and 90mm. They are very different and can cover almost everything, especially if you have many camera bodies with different crop factors to choose from.
In order to mount the Summicron 50mm and the Elmarit 28mm on the speed booster, I had to shave down a metal pin on the rear of these lenses. They would have scraped the speed booster glass otherwise. It was done quite quickly and easily, and as far as I know have no impact on the use of these lenses.
I’m not going to talk much about my Vario-Elmars. They are two of the cheapest zooms in the whole Leica R lineup: the Vario-Elmar 35-70mm F/3.5 and the Vario-Elmar 70-210mm F/4. I’m not really a zoom-lens type of guy, and I really only use them if I don’t have the time or possibility to change a lens or if I’m going to do a zoom-shot. They are however parfocal as far as I can tell, you can see that for yourself in the video test below. They also keep their brightness pretty much throughout the entire zoom range. The tele-zoom is a push-pull design, so can be quite hard to do a smooth zoom with; the 35-70mm can be fitted with a lens gear for smooth focusing. Talking about lens gears, I have fitted all of my primes with custom lens gears from the user Helicoptersean on Ebay, and also step rings to give them the same filter diameter.
I would also like to say something about the future of my Leica R collection. 🙂
The next addition will probably be the Elmarit 135mm and I’m looking at the ”Made in Canada” one. In other cases I don’t think there are any real differences between the ones made in Germany and the ones made in Canada, however for this lens it’s the easiest way to be sure that you get the latest lens design. It also have a 55mm filter thread which I prefer as mentioned earlier. As before, one can’t say one version is better than the other. I’ve read that the earlier is nicer when focusing on objects up close, but it’s hard to get real answers without having both on hand to do your own testing. The newer version though is suppose to be a bit sharper wide open with less vignetting and if that is the case,it would intercut more seamlessly with my other late-design lenses.
Another interesting lens is the Super-Elmar 15mm F/3.5. As far as I know it’s actually the same lens as the Zeiss Contax 15mm F/3.5, but only with a different coating and passing through Leicas quality control. The drawbacks of this lens is that it’s slightly slower speed (comparing to the rest), but more noticeably the lack of a filter thread due to the large bulging front glass.
Conclusion:
I would highly recommend Leica R lenses to anyone about to build a lens set aimed at cine-use. They have a long and smooth focus throw, manual aperture in half-stop increments and all metal housings. This makes them nice to use and handle, but equally important, they also got a lovely look to them. It’s a nice balanced look between vintage, with its flares and something a bit more contemporary, but without looking boring and soulless, like many modern lenses often do. I can’t really find any other word to describe these lenses, rather than that they make things look pretty!
As I said before, they are also easy to adapt to different mounts, like Canon-EF and they cover full frame, which makes them quite future proof, with cinema sensors scaling up rapidly. If one someday decides to sell then, you are most likely getting back what you paid, if not more. And lastly, owning and using these lenses is a joy 🙂 / Johan Cederholm
Pros:
- Great look and feel
- Great metal built quality, fully manual
- Flat look (can give more information to work with in the grade)
- Easily convertible to other mounts
- Flare quite easily (compared to modern lenses)
Cons:
- Some lenses can be quite costly
- F/2.8 is the fastest speed on the wide lenses
- When closing the aperture you get ”stop-signs” in the bokeh
- Quite short focus throw on the Vario-Elmar 35-70mm
- Rotating front element on the Vario-Elmar 35-70mm
- Flare quite easily (compared to modern lenses)
I want to thank countless webpages, reviews and online forums, for bringing knowledge and inspiration to this article / Johan Cederholm
Massive thanks to Johan. I don’t know about you, but up to this point Leica lenses were quite “new” to me and I’ve learned a lot! I’ve also asked Johan what videos shot with Leica R lenses have impressed & inspired to get his own set, so here shared two very impressive creations by Ed David (below), which of course were shot with Leica R lenses. Enjoy! 🙂
I try my best to make this website a great resource for people interested in vintage lenses for video use, so I hope you’ve enjoyed this & other posts. I sure hope they will help you save some money on your future lens investments too. I’ve joined the ebay affiliate program to help me run this website, fund my tests & lens giveaways, so if you find this content useful and would like to help me produce more similar content, please use the links in this post if you’re planning to buy one of these lenses or bookmark and/or use this link if you want to buy anything else on eBay.com or this link if you shop on eBay.co.uk. You will not be spending a penny more using these links, while still helping as eBay will pay out a small percentage from any purchase or successful bid, which in turn will support new content on www.vintagelensesforvideo.com. Thank you.
Hello, can you give a link for the step up ring you use? Thanks for this article, i just need the 19mm elma to finish my set 🙂
Hi!
Sorry for my late reply. I think I bought the step up rings via Ebay, not any specific brand. Some sizes can be a little hard to track down, I’m afraid.
Terrific article! I’m also very fond of vintage glass, but I don’t have a nice rational matched set like you do. I should really get around to that. 🙂 Also, the Bingo movie genuinely looks like a film. The movement, the pace, the look… everything. I love my BMPCC, but frequently when I see other movies shot on the camera it has a signature footprint. Not a bad look, just a tip off to which camera one shot with. With Bingo this is a rare case where I couldn’t tell. Brilliant stuff!
What about the difference between Leica R and M lenses – i want to get some Leica lenses but am unsure about which way to go
The M lenses are for the Leica rangefinder series of cameras and are generally more difficult to adapt for cinema use due to the rear elements of the lenses. Some RED cameras can take M cameras but most others cannot.
I used to own the fantastic 19mm v2. If you would like to read more about it, look here:
http://vintage-lenses.blogspot.de/2016/03/leica-elmarit-r-19-mm-f28-on-sony-a7r.html?m=1
Hello in product description of Metabones Spedbooster for Leica R it is said that:
The following lenses require modification in order to fit on the Speed Booster – Super-Elmar-R 15mm, Elmarit R 28/2.8, Elmarit R 35/2.8, Summicron R 50/2
Did you have such kind of problem. Did you make some modifications on the lenses?
Hi!
Sorry for my late reply. As the article say: In order to mount the Summicron 50mm and the Elmarit 28mm on the speed booster, I had to shave down a metal pin on the rear of these lenses. They would have scraped the speed booster glass otherwise. It was done quite quickly and easily, and as far as I know have no impact on the use of these lenses.
I found the instructions to this online, and I’m not sure this “metal pin” have any specific use. However I can’t guarantee anything, maybe it’s a different story when the lenses is mounted on an a camera with the actual Leica R mount? Not sure.
Hello,
Great article! i can’t seem to find any info on this “metal pin” issue online, would you mind providing your source? Thanks!
Hi!
Maybe I described the procedure a little wague, and it might be that it differs from lens to lens, not sure. Maybe “metal pin” is not the right wording, it’s hard to describe. You have to make sure nothing protrudes from the rear of the lens so that it can scratch the speed booster glas, or that the rear glas of the lens hit the glas of the speed booster when focusing on a certain distance, and might cause damage. You can try and take meseaurement so you know how much material you will need to file down.
I can’t remember where I read about this the first time, but they discuss the problem on this forum:
https://www.dpreview.com/forums/thread/3629411
I used the Speed Booster made for the Blackmagic Pocket Cinema Camera back in the day. Remember that the modification is not reversable and you have to be careful not damaging either the lens or the adapter.
Just to clarify: I leave no guarantees what so ever, and don’t even know if this modification is possible with all Leica R lenses. This is not something I recommend, just a method I used to get my particular equipment to work together.
Hope this clarify a little!
Hi,
What would you say is a fair price for a Leica R Summicron f/2 50mm lens? I see a lot of them on eBay and they’re kinda pricey. Do you know what would be considered fair price points for this lens in excellent condition (80-89% of original condition) or in over 90% its original condition? Thanks.
The difference in price normally relates to the year of manufacture
50mm f/2 Summicron-R II Serial Numbers are from 1976 – 2001
Serial numbers starting with early 3 numbers (i.e. 3089 001) were made in 1981 – u can get in mint condition for around $400
but others made with serial number starting with 37 (1996) to 39 (2001) will be more closer to $800-$1,000 USD mark
You can find the year of the manufacture here for each serial number range
https://www.l-camera-forum.com/leica-wiki.en/index.php/50mm_f/2_Summicron-R_II
Im trying to question if it is worth investing in the Leica R lenses
I already have a set of Zeiss ZE Primes for cinematography
its hard to find anyone who has done proper tests online between Zeiss and Leica
i think i will try and do my own tests between Leica R lenses and Zeiss ZE primes
From what I’ve seen the Leica R Summicron 50mm seems to have less contrast, and much softer / mushy wide open at F2 and f2.8
Is it worth investing in Leica?
or is it just a bit of a scam for gullible lens lovers?
Brand New Zeiss ZE Prime 50mm F1.4 i think cost me $800 USD NEW – the average cost of a whole set is around 1,200k usd each – $800 for the 50mm and $1,600 USD for the 100mm macro – 35 and 85mm f1.4 i think were around $1,200
Now these lenses have been replaced by the Zeiss Melvus Range – basically same optics in a Zeiss Otus style housing with ability to de-click the external aperture – for an initial investment id go with Zeiss – the Ultimate are the Zeiss Otus primes
but i am interested into the Leica R primes for a softer more dreamy shots – personally i need to see / and or do my own tests to see if its worth spending the $800 USD each on them – if i buy a set i want the later serial number lenses (made in late 90s) not ones that were made in 1970 or 1980
Oddly for lenses that people think are amazing for video there is very little video examples on the net
i managed to find one youtube video but wasn’t very well done
Thanks a lot for you input!
yes it does seem strange that so many people recommend for video but finding many examples an tests is hard to do. but this has made me very curious and interested in looking into leica as an option for my first relatively cheap set of lens!
Hi VLEV, i’m currently so torn between whether to get the 24 or the 28 elmarit-R. I have 35-135 but i havent got the wide. Searched up and down but it seems 24mm (minolta design) isn’t much
fancied by a lot of users. If you could so kind to give a little guide to whether a 28mm would be good or the 24mm is not recommended?
Thanks!
Hi Adrian!
Sorry for my late reply, I guess you probably have already decided on a lens.
I have no experience with the 24mm lens, but liked the 28mm F/2.8 that I used to have. I have also read mixed reviews of the 24mm.
Best regards
Regardless of whether Leica collaborated with Minolta or with Sigma, Leica supporters always grumbled. That’s a tradition for a long time. It didn’t matter how good the result of each of these collaborations was. For video I use, among others, the Leica lenses Summicron 50mm f/2 and 35mm f/2. For wide angle videography on a Fuji X-T2 and X-T3 I use a Minolta Rokkor MC 24mm f2.8 that I got from my father. I really like this lens for video and am satisfied. It goes very well with the two Leica lenses. All these lenses have a soul. 🙂
Hi Frank!
You got some fine lenses 🙂 I agree. Nice to hear that your Minolta lens goes well with your Leicas.
As a side note, I would guess there can be some variation on any certain lens, regarding it’s look and feel, depending on different manufacturing years and other variables?
Best regards
Hi I have question;
In the product description of Metabones Spedbooster for Leica R it is said that:
The following lenses require modification in order to fit on the Speed Booster – Super-Elmar-R 15mm, Elmarit R 28/2.8, Elmarit R 35/2.8, Summicron R 50/2
Did you have to modify your lenses like the Summicron R 50mm f2 in a way for it to be used on a metabones speedbooster?
Thanks!
Hi!
Sorry for my late reply. As the article say: In order to mount the Summicron 50mm and the Elmarit 28mm on the speed booster, I had to shave down a metal pin on the rear of these lenses. They would have scraped the speed booster glass otherwise. It was done quite quickly and easily, and as far as I know have no impact on the use of these lenses.
I found the instructions to this online, and I’m not sure this “metal pin” have any specific use. However I can’t guarantee anything, maybe it’s a different story when the lenses is mounted on an a camera with the actual Leica R mount? Not sure.
Maybe I described the procedure a little wague, and it might be that it differs from lens to lens, not sure. Maybe “metal pin” is not the right wording, it’s hard to describe. You have to make sure nothing protrudes from the rear of the lens so that it can scratch the speed booster glas, or that the rear glas of the lens hit the glas of the speed booster when focusing on a certain distance, and might cause damage.
Remember that the modification is not reversable and you have to be careful not damaging either the lens or the adapter.
Just to clarify: I leave no guarantees what so ever, and don’t even know if this modification is possible with all Leica R lenses. This is not something I recommend, just a method I used to get my particular equipment to work together.
James Franco loves vintage Leica lenses.
Thanks for your comment, that’s fun to know!
great article except for the video of the clown putting a gun in his mouth and pulling the trigger………wasnt funny or cute…..really ruined the whole article
Hi!
Glad you liked the article, but sorry you didn’t like that specific video example. If you search, there are plenty of other videos online where Leica R lenses where used.
I have used the M series Leicas for 11 years now but, having also used an SLR since 1976, was curious about the Leica reflexes. I picked up a Leicaflex SL body from Peter Loy in London last autumn for £65 as the meter did not work. I use a hand held meter. I’ve now collected four lenses for it – the Schneider Kreuznach P A Curtagon 35mm f4 shift lens, 28-70mm f3.5-4.5, 135mm f2.8, and the 250mm f4 Telyt lens for cricket matches. The 250 is a version 1, 1970 with the fixed tripod mount.
Any idea how these Leica R lenses compare to Canon New FD primes? 20mm f2,8, 24mm f2, 28mm f2,8, 35mm f2, 50mm f1,4, 85mm f1,8, 100mm f2,8, 135mm f2?
Hi!
I’m sorry, I have no experience with Canon FD lenses.
Hopefully someone else can step in and help you out or you can find a comparison some other place!
There is this article on this site, that might help, “Affordable Canon FD Lenses for Sony-E & M4/3 | Buyers Guide”: https://www.vintagelensesforvideo.com/canonfd-buyers-guide/
Lukas: I’ve used the Canon F1 and FD lenses in the past including in the Yugo conflict. Rendition of images is indistinguishable between FD & Leica R, mono, colour or E6. It is the build quality of this gear that is really astounding. I’ve now collected two Leicaflex and three Leicaflex SL bodies, one SL has a working meter. I’ve used handheld meters since 1976 and feel that the option of reflective or incidental metering is a boon. Use both together and it’s called matrix metering. That’s what I say anyway. Digital? Well I have my negs scanned to disc and view them on my ancient Panasonic Toughbook. So my earlier Leicaflex cameras – 1965 & 1967 are digital cameras.
Now in the pro and con lists further up the page, a con could be weight. However, despite having 28-35-50-90-135-180-250 lenses (I don’t use zooms) I generally take 35 & 90mm lenses out with me.
they are kind of similar…. I did a 50mm shoot out of both Leica R and Canon FD – The Leica R are sharper – and the flares are not as extreme – so I decided to get a set of Leica R over Canon FD – I also like the metal housing of the Leica Rs… compared to the FD which is bit cheap – but the Leica Rs are kind of pricy – affordable for the F2 ($700-1k USD) but the F1.4 are so rare people want more money than they cost back 20-30 years ago (3-4k USD)
[…] Introduction to LEICA-R lenses | Budget Buyer’s Guide […]
[…] Introduction to LEICA-R lenses | Budget Buyer’s Guide […]
Johan. I thoroughly enjoyed this article as I’m a great fan of Leicaflex and the lenses. The four lenses introduced by Leitz in 1964 were 35mm f2.8 Elmarit, 50mm f2 Summicron, 90mm f2.8 Elmarit and 135mm f2.8 Elmarit. Leitz must have considered these to be the most useful in a professional photographer’s arsenal. I noticed that prices were rising and bought all four plus 28mm f2.8 Elmarit, 180mm f2.8 Elmarit and 250mm f4 Telyt.
This year I’ve bought 100mm f4 Macro and 180mm f4 (a lighter weight lens for travellers. My 135mm f2.8 and 250mm f4 are made in Canada. My research indicates that the earlier 135mm was made in Germany and was optically different. The chap I tend to buy from, Peter Loy in London had a German made 135mm at a bargain price so I snapped it up. Compared to my more recent model, the earlier one is slightly lighter, has series VII filters and dates to 1965. The Canadian 135mm has E55 filters and dates to 1970. I’ve now managed to track down a filter adapter to convert series VII to E55. These are my 28/2.8, 90/2.8, 135/2.8 Germany lens. We have to look sharp because digital Johnny and his pals are snapping up the lenses having purchased Chinese made adapters to use on cameras made in the land of the rising sun. Not the holy city of Wetzlar.
The Leica cameras came about because Leitz employee Oskar Barnack had asthma.
Hi, Toby!
Thanks for your comment and all your information. It’s always nice to learn new stuff!
Best regards
Stephen: The Canon FD lenses came in two variants, the earlier FD for the Canon F1 and F1n had the spring-loaded chrome ring, similar to the earlier FL lenses for the pre 1971 FT and FX cameras. When the AE1 and subsequent A1 were introduced circa 1976, a range of smaller optics were introduced called FDn. These seemed to be of a slightly inferior quality of build as they were lighter. However, I’m sure the optics were identical.
Now the Leitz R lenses seemed to go the other way, the initial offering of four lenses, mentioned by our dear friend Toby above included a 35/2.8 and 50/2 both smallish lenses with series VI filters. These were later replaced with slightly larger versions with E55 filter threads. The E55 lenses have the focal lengths marked in yellow on their barrel near the aperture scale. This also applies to other lenses. The E55 lenses include 35/50/90/100/135/180mm focal lengths. I’m not certain about 28 and 24mm lenses. The 75-200mm f4.5 is a 55mm filter thread.
The 35mm lenses include F2 and F2.8 versions, ditto the 90mm. The 180mm I mentioned is F4 the 180 for travelling. Toby is right about Digital Johnnys.
[…] Summilux classification—whereas the T2.8 lenses are grouped under the Elmarit title. These titles refer exclusively to the T-stop capabilities of the lenses, and do not signify any other explicit design […]
Does anyone know what filter size the macro-elmarit-r 60mm uses? my SN is 289XXX, some places say its an E55 but I have an E55 for my elmarit-r 135mm and it’s too small to fit the 60mm. I also saw that the filter size should be a Series VIII, but I dont have one to verify. I’m trying to get Cine Step up rings and I want to get the correct one, any help?