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Light Lens Lab 50mm f/1.5 Z21 Review

Fred Miranda
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p.3 #1 · Light Lens Lab 50mm f/1.5 Z21 Review

I got a bit of sun today and ended up doing a rendering comparison between the LLL 50/1.2 '1966' (at f/1.2, f/1.4, and f/2), the LLL 50/1.5 Z21 (at f/1.5 and f/2), and the LLL 50/2 Cooke SP2 (at f/2). The results were surprising. I'll post it next...

Jul 18, 2025 at 09:16 PM

stgrove
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p.3 #2 · Light Lens Lab 50mm f/1.5 Z21 Review

Focused on back lit flower at f1.5 about a meter away on SL3S-hand held. Must admit using it handheld at f1.5 is a challenge to pin point focus. Must try a tripod next time.
Used a Black diffusion 1/4 filter.

Edited on Jul 20, 2025 at 07:45 AM · View previous versions

Jul 19, 2025 at 09:49 AM

Fred Miranda
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p.3 #3 · Light Lens Lab 50mm f/1.5 Z21 Review

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Field Curvature

The Light Lens Lab 50mm f/1.5 Z21 features an optical design with a complex field curvature that changes noticeably with focusing distance. At close range (roughly from 0.7m to about 1.5m), the field curvature bends severely outward. As distance increases to the mid-range, the curvature becomes somewhat wavy, then gradually flattens and even curves slightly inward toward infinity. At long distances, the field is very flat, especially when compared to the shape at minimum focus. This shifting behavior makes it a challenging lens to fully understand and can easily confuse shooters trying to predict what will be in sharp focus.

During resolution testing (to be shared soon), I found that at infinity, where I usually evaluate contrast and sharpness, field curvature flattens out, but interestingly, the mid-field region shows noticeably weaker performance than both the center and the extreme corners. This drop in sharpness is not due to field curvature but rather a dip in optical resolution. I confirmed this by focusing separately at the center and mid-field and observing no change in detail at the mid-field zone.

I'm still getting to know the lens, but it's already clear that keeping the main subject near the center yields the best results. When subjects stretch across the frame, the uneven resolution and contrast become more apparent, so it's best to avoid those types of compositions when shooting with the Z21. If you're looking for a lens with similar character but more consistent performance across the frame, the Light Lens Lab 50/2 Panchro II is a solid and more predictable alternative.

This sequence, a GIF animation made from several frames, shows how the field curvature shape evolves from minimum focusing distance to infinity.

Jul 19, 2025 at 07:34 PM

sander9t
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p.3 #4 · Light Lens Lab 50mm f/1.5 Z21 Review

Hi Fred, thanks so much for the detailed review so far! Love many of the sample pictures here.

I almost got a copy of Z21 while in China last month but somehow talked myself out of it because of the similarity in rendering with my Prominent Nokton 50/1.5. I can see that the Z21 has a quicker sharpness falloff from the center. The bokeh is very familiar though.

Jul 20, 2025 at 12:16 AM

insideline
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p.3 #5 · Light Lens Lab 50mm f/1.5 Z21 Review

I just received a Matte Black copy of the Z21 and it's a very nice lens.

Edited on Jul 24, 2025 at 06:48 PM · View previous versions

Jul 20, 2025 at 10:45 AM

Listopad44
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p.3 #6 · Light Lens Lab 50mm f/1.5 Z21 Review

@insideline
Could you share side by side test pictures S21 vs Z21?

Jul 20, 2025 at 12:26 PM

Fred Miranda
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p.3 #7 · Light Lens Lab 50mm f/1.5 Z21 Review

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Infinity Resolution and Contrast compared Light Lens Lab 50mm f/1.2 ASPH "1966"

I received several requests to include the Light Lens Lab 50mm f/1.2 ASPH "1966" in this comparison alongside the Light Lens Lab 50mm f/1.5 "Z21".

One of the first differences that stands out is the tonal rendering. The Z21 has a noticeably warmer signature, while the 1966 version produces a much cooler look, which is mostly due to its lens coating.

When it comes to performance, the Light Lens Lab 50mm f/1.5 Z21 offers higher resolution and contrast both wide open and stopped down across most of the frame. The one exception is the mid-zone, where the 1966 does slightly better at wide apertures. By f/4 and f/5.6, however, the differences become more apparent and the Z21 pulls ahead. From f/5.6 onward, it delivers excellent sharpness and contrast across the frame and can even rival modern lenses on the Leica M11. The Light Lens Lab 50mm f/1.2 1966 does not perform as well in this area because of stronger field curvature at longer distances and significant focus shift. This shift softens the image at f/2, f/2.8, and even f/4, with sharpness only recovering by f/5.6 due to the broader depth of field.

These tests were done by focusing both lenses at infinity using the rangefinder. Focus accuracy was confirmed using Live View, so the differences are not from focus error but rather from the lenses' optical characteristics, especially field curvature and focus shift.

In short, the Light Lens Lab 50mm f/1.2 1966 is best used when you are after its cinematic rendering qualities. It is not intended for high contrast or sharpness across the frame. Wide open, it creates more blur than the Z21 and has a smoother rendering style that we will explore more in the rendering section. Neither lens is ideal for strict resolution testing because their appeal lies in their imperfections. Still, the Z21 stood out in this comparison with strong center sharpness at wide apertures, good corner performance, and improved mid-field sharpness when stopped down. By f/5.6 and especially f/8, the Z21 performs exceptionally well across the image field.

Distance: Infinity
Focus: Center - Best of three shots at maximum magnification
White Balance: Daylight
Both lenses are well centered, as verified with my decentering test.
Software used: Lightroom with FM Default Landscape Sharpening; all other settings are at default.

PS: Color temperature, Vignetting, Chromatic Aberration (CA), and distortion were not corrected either in post-processing or in-camera.

Center Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/1.2 ASPH "1966"
(open the browser window to view entire image without resizing)

f/1.5

f/2

F/2.8

F/4

F/5.6

F/8

Jul 21, 2025 at 07:29 PM

Fred Miranda
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p.3 #8 · Light Lens Lab 50mm f/1.5 Z21 Review

Mid-field Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/1.2 ASPH "1966"
(open the browser window to view entire image without resizing)

f/1.4 or f/1.5

f/2

F/2.8

F/4

F/5.6

F/8

Jul 21, 2025 at 07:30 PM

Fred Miranda
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p.3 #9 · Light Lens Lab 50mm f/1.5 Z21 Review

Extreme Corner Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/1.2 ASPH "1966"
(open the browser window to view entire image without resizing)

f/1.4 or f/1.5

f/2

F/2.8

F/4

F/5.6

F/8

f/11

Jul 21, 2025 at 07:32 PM

Fred Miranda
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p.3 #10 · Light Lens Lab 50mm f/1.5 Z21 Review

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Infinity Resolution and Contrast compared Light Lens Lab 50mm f/2 Speed Panchro II

When comparing the Light Lens Lab 50mm f/1.5 Z21 to the Light Lens Lab 50mm f/2 Speed Panchro II (Cooke), the most noticeable difference is tonality. The 50mm f/2 SP2 has a warmer rendering due to its coatings. So, in order of tonal warmth: the 50mm f/1.2 1966 is the coolest, followed by the warmer 50mm f/1.5 Z21, with the 50mm f/2 SP2 being the warmest of the three.

In terms of contrast, both the Z21 and SP2 are similar across the image field, but resolution sets them apart. In the center, they perform similarly both wide open and stopped down. But as you move to the mid-frame and corners, the SP2 resolves finer detail while maintaining similar contrast. This advantage continues into the extreme corners, where both lenses improve when stopped down to f/4, though the SP2 still pulls ahead in resolving power.

By f/5.6 and f/8, both lenses perform similarly across the frame.

They both have flat field curvature at longer distances and show very minimal focus shift.

Distance: Infinity
Focus: Center - Best of three shots at maximum magnification
White Balance: Daylight
Both lenses are well centered, as verified with my decentering test.
Software used: Lightroom with FM Default Landscape Sharpening; all other settings are at default.

PS: Color temperature, Vignetting, Chromatic Aberration (CA), and distortion were not corrected either in post-processing or in-camera.

Center Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/2 Speed Panchro II
(open the browser window to view entire image without resizing)

f/2

f/2.8

f/4

f/5.6

f/8

Jul 21, 2025 at 08:02 PM

Fred Miranda
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p.3 #11 · Light Lens Lab 50mm f/1.5 Z21 Review

Mid-field Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/2 Speed Panchro II
(open the browser window to view entire image without resizing)

f/2

f/2.8

f/4

f/5.6

f/8

Jul 21, 2025 at 08:03 PM

Fred Miranda
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p.3 #12 · Light Lens Lab 50mm f/1.5 Z21 Review

Extreme Corner Resolution and Contrast

Infinity Resolution and Contrast compared Light Lens Lab 50mm f/2 Speed Panchro II
(open the browser window to view entire image without resizing)

f/2

f/2.8

f/4

f/5.6

f/8

Jul 21, 2025 at 08:04 PM

Sonnar-7
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p.3 #13 · Light Lens Lab 50mm f/1.5 Z21 Review

The center resolution is not bad at all, compared to the Panchro the glow seems more tamed.
I feel the pop given by the resolution in the center would give it an edge on the Heliar that was always lacking in that regard.

Jul 22, 2025 at 08:27 AM

Fred Miranda
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p.3 #14 · Light Lens Lab 50mm f/1.5 Z21 Review

Sonnar-7 wrote:
The center resolution is not bad at all, compared to the Panchro the glow seems more tamed.
I feel the pop given by the resolution in the center would give it an edge on the Heliar that was always lacking in that regard.

Great observation, I noticed that too. The Panchro delivers a bit more glow in the center while the Z1 is better corrected for spherical aberration in that area. As a result it outperforms the Voigtlander 50 mm f/1.5 Heliar in the center, especially at mid to long distances. The Heliar follows a completely different optical design, so it produces less swirl but also falls short in resolution compared to the Z1 and the Panchro SP2. I would rather start with higher resolution and contrast since it is easy to harmonize things in post.

Jul 22, 2025 at 12:15 PM

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p.3 #15 · Light Lens Lab 50mm f/1.5 Z21 Review

Here's a comparison between an Angenieux 50mm f/1.5 S21 (mount unknown) and the Light Lens Lab 50mm f/1.5 Z21. Aesthetically, I think Light Lens Lab did an excellent job with this replica. The two look very similar. The S21 also appears to have a glossy painted finish.

Jul 22, 2025 at 03:05 PM

Listopad44
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p.3 #16 · Light Lens Lab 50mm f/1.5 Z21 Review

Judging by the distance between the 5m and infinity marks on the focusing ring, the S21 has more precise focusing with a smaller helicoid thread pitch.

Jul 22, 2025 at 03:21 PM

Fred Miranda
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p.3 #17 · Light Lens Lab 50mm f/1.5 Z21 Review

Listopad44 wrote:
Judging by the distance between the 5m and infinity marks on the focusing ring, the S21 has more precise focusing with a smaller helicoid thread pitch.

One important difference that doesn't show in the pictures: the S21 has a minimum focus distance of 1 meter, while the Z21 focuses closer at 0.7m. That affects the focus scale markings. I measured the Z21's focus throw to be around 180 degrees, which already feels long but still manageable for accurate focusing. I'm not sure what the throw angle is on the S21, but if longer than 180 degrees, that would feel excessive to me.

Here is the S21 (LTM mount), this one focuses down to 3 � ft or 1.07 meters.

https://lens-db.com/p-angenieux-paris-50mm-f15-type-s21-lsm/

Jul 22, 2025 at 03:34 PM

Fred Miranda
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p.3 #18 · Light Lens Lab 50mm f/1.5 Z21 Review

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Rangefinder Focusing, Recomposition, and the Effect of Field Curvature

Many are asking themselves what exactly is the falloff in resolution and contrast from the center to the mid-zone and then to the edges. As we've seen from the resolution tests at infinity and the many sample images shared throughout this review, it's clear that the Light Lens Lab 50mm f/1.5 Z21 has stronger correction near the center, followed by a steep drop in the mid-zone.

You might assume that this drop is caused by field curvature or simply by the characteristics of the lens design. You'd be right, since it's a combination of both. However, subject distance also plays a big role. We've already seen [url=https://www.fredmiranda.com/forum/topic/1908962/2#fieldhow the field curvature behaves[/url], starting with a strong outward shape at close distances and gradually flattening as the focus distance increases. This behavior also shows up when using focus and recompose techniques.

In the next series of shots, I'll focus on the subject at the center, recompose to place it in the mid-field without changing focus, and then take a final shot where the subject is refocused in the mid-field position (using Live View). As expected based on the curvature pattern, recomposing without refocusing introduces more issues at close distances, where the field curvature pushes outward. At longer distances, the curvature flattens, so recomposing has much less of an effect.

So, what can we take from this? We're learning the lens's imperfections and how to use them to our advantage. For instance, if you want the best possible resolution and contrast, it makes sense to place the subject in the center and let the edges fall off in sharpness and contrast. On the other hand, placing the subject closer to the rule of thirds area (without going too far off center) can still give you good resolution but slightly reduced contrast. The rendering stays consistent, but the overall image feels more balanced.

At close focusing distances, say from 0.7 to 1.5 meters, if your subject is in the mid-zone and you want the highest possible sharpness and contrast, it's best to use Live View and focus directly on that area. At longer distances, or if you're going for a softer, lower contrast look that feels more natural, focusing at the center and recomposing is often the better choice.

Here's a sequence showing subject distances at 0.9m, 1.5m, 3m, and 5m. Each distance is shown with focus locked at center, then recomposed, and finally recomposed with focus corrected.

AT 0.9m: Focus locked at center

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 0.9m: Recomposed without refocusing

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 0.9m: Recomposed with focus corrected

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

LEFT: Focus locked at center | RIGHT: Recomposed without refocusing

LEFT: Recomposed without refocusing | RIGHT: Recomposed with focus corrected

AT 1.5m: Focus locked at center

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 1.5m: Recomposed without refocusing

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 1.5m: Recomposed with focus corrected

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

LEFT: Focus locked at center | RIGHT: Recomposed without refocusing

LEFT: Recomposed without refocusing | RIGHT: Recomposed with focus corrected

Jul 22, 2025 at 04:48 PM

Fred Miranda
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p.3 #19 · Light Lens Lab 50mm f/1.5 Z21 Review

Continuing at 3m, and 5m distances:

AT 3m: Focus locked at center

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 3m: Recomposed without refocusing

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 3m: Recomposed with focus corrected

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

LEFT: Focus locked at center | RIGHT: Recomposed without refocusing

LEFT: Recomposed without refocusing | RIGHT: Recomposed with focus corrected

AT 5m: Focus locked at center

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 5m: Recomposed without refocusing

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

AT 5m: Recomposed with focus corrected

LEICA M11 ---- lens 1/4000s 100 ISO -0.3 EV

LEFT: Focus locked at center | RIGHT: Recomposed without refocusing

LEFT: Recomposed without refocusing | RIGHT: Recomposed with focus corrected

Jul 22, 2025 at 04:55 PM

Fred Miranda
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p.3 #20 · Light Lens Lab 50mm f/1.5 Z21 Review

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Distortion

Most 50mm lenses typically show some degree of pincushion distortion due to their optical design, but the Light Lens Lab 50mm f/1.5 Z21 stands out as an exception. Straight from the camera, distortion is very minimal. If I want an image to be absolutely perfect, I might apply a +1 barrel correction in Lightroom, but the difference is very subtle and often not even necessary. This really shows how well this lens controls distortion. Distortion correction is definitely one of the Z21�s strongest features.

Below are two images: one straight out of the camera and the other with a +1 barrel correction applied.

No correction

LEICA M11 Light Lens Lab 50mm f/1.5 Z21 lens 50mm 1/640s 100 ISO -1.0 EV

Pincusion corrected (+1)

LEICA M11 Light Lens Lab 50mm f/1.5 Z21 lens 50mm 1/640s 100 ISO -1.0 EV

Jul 22, 2025 at 05:36 PM

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