The ultimate 35mm one-and-done lens in M mount
p.4 #1The ultimate 35mm one-and-done lens in M mount
nehemiahphoto wrote:
Not one person in 5 pages has mentioned the Simera 35/1.4 lol
That's probably because the question didn't mention a budget. Naturally, if someone can only have one lens for their Leica M, most people are going to suggest a Leica lens. If the question had been about the best budget third-party lens as your "one and done" 35mm option, I'm sure we would have recommended something else instead.
Even then, I still wouldn't choose the Simera; instead, I'd pick the LLL 35/1.4 Aspherical for an f/1.4 option, or the LLL 35/2 8-Element or Voigtlander 35mm f/2 Ultron as my compact alternatives.
Not one person in 5 pages has mentioned the Simera 35/1.4 lol
That's probably because the question didn't mention a budget. Naturally, if someone can only have one lens for their Leica M, most people are going to suggest a Leica lens. If the question had been about the best budget third-party lens as your "one and done" 35mm option, I'm sure we would have recommended something else instead.
Even then, I still wouldn't choose the Simera; instead, I'd pick the LLL 35/1.4 Aspherical for an f/1.4 option, or the LLL 35/2 8-Element or Voigtlander 35mm f/2 Ultron as my compact alternatives.
Sep 14, 2026 at 11:44 AM
p.4 #2The ultimate 35mm one-and-done lens in M mount
Don’t quite agree with you on that one.
We have ZM 35/1.4, 35/2 and 35/2.8 mentioned. Also the CV 35/2 Ultron and 35/1.7 as well as the Mandler 35/2. All third party, prices lower than Leica. That’s in addition to the Leica lenses not even in the poll option.
My take away is m-shooters (at least on FM) don’t really prize the Simera greatly. You and I included.
We have ZM 35/1.4, 35/2 and 35/2.8 mentioned. Also the CV 35/2 Ultron and 35/1.7 as well as the Mandler 35/2. All third party, prices lower than Leica. That’s in addition to the Leica lenses not even in the poll option.
My take away is m-shooters (at least on FM) don’t really prize the Simera greatly. You and I included.
Sep 14, 2026 at 11:59 AM
p.4 #3The ultimate 35mm one-and-done lens in M mount
I will say it again because I just came across this revived thread.
ZEISS 35MM 1.4 DISTAGON ZM
https://www.leicaimages.com/album/1600040
ZEISS 35MM 1.4 DISTAGON ZM
https://www.leicaimages.com/album/1600040
Sep 14, 2026 at 08:07 PM
p.4 #4The ultimate 35mm one-and-done lens in M mount
Every time I open my 35mm drawer, small lenses jump out at me and not even the 11873 with hood attached.. That means the Mandler 35/2 or Leica KOB 35/2 or the VM Ultron 35/2 and sometimes the LLL 35/2.0, 8 Element. All for some degree of "character" to me.
The best APO 35/2.0 for one and done.
If f1.4 needed the 35/1.4 CF. If 1.2 needed the VM 35/1.2. So seldom "need" 1.2, I sent the Leica 35/1.2 back unopened as I can have a lot of fun with 4-5 other lenses for that price..
The best APO 35/2.0 for one and done.
If f1.4 needed the 35/1.4 CF. If 1.2 needed the VM 35/1.2. So seldom "need" 1.2, I sent the Leica 35/1.2 back unopened as I can have a lot of fun with 4-5 other lenses for that price..
Sep 15, 2026 at 05:19 AM
p.4 #5The ultimate 35mm one-and-done lens in M mount
35mm 8 element...all day every day! I especially love it on my M-A.
Though now I'm looking for a 35mm APO to go with my m11.
Though now I'm looking for a 35mm APO to go with my m11.
Sep 21, 2026 at 11:42 PM
p.4 #6The ultimate 35mm one-and-done lens in M mount
Summicron-ASPH v1 for me, perfect balance of size and performance. Works magic on the M10M. Stupid lens hood is tilted a couple degrees off-center though, but apparently that is not uncommon on these.
Sep 22, 2026 at 07:33 AM
p.4 #7The ultimate 35mm one-and-done lens in M mount
I used to own the 35mm pre-Asph Summilux and it was great.
(I edited this comment because I didn't read the OP's title properly.)
(I edited this comment because I didn't read the OP's title properly.)
Sep 23, 2026 at 05:19 PM
p.4 #8The ultimate 35mm one-and-done lens in M mount
Well, here is a vote for the Simera 35mm lens—specifically the Simera-C version—though I’m not entirely sure if my opinion belongs in this particular discussion 
My field is cinematography, directing, and DP work; consequently, I am interested solely in whether a given lens contributes to effectively evoking the atmosphere, mood, psychological tone or sentiment required for a specific narrative. The criterion, therefore, is how successfully and consistently it conveys the theme—without distracting elements that might break the spell cast upon the viewer.
The Simera-C is IMO a lens line characterized by an exceptionally refined, carefully calculated balance. However, I believe its intent—and the subtle yet significant way it renders an image—should not really be compared to Leicas, and certainly not to Voigtländers, even if it does (noticeably) adopt their basic design blueprint.
In fact, having worked with three core Leitz cine lenses, I would argue that the Simera-C's actually adhere more faithfully to the original lineage of Leica design than lenses created based on Karbe’s independent vision. The Simera-C line, I believe, actually emulates the Leica (Leitz) Summilux-C set—and does so very successfully—far more than it attempts to mimic the Hugo (and the earlier 0.8) series, which are, of course, expanded re-housed versions of modern Leica still-photography lenses.
As everybody here surely know, mechanical designer André de Winter and optical engineer Iain Neil designed the Summilux-C cinema set from the ground up, completely independently of the Leica photo lenses design, with the aim of preserving the core philosophy and character of the Mandler tradition while adapting it to the demands of modern cinematography.
(After all, De Winter indeed began his career in 1969 at Ernst Leitz Canada, working directly under the leadership of Dr. Mandler.)
Thus, to me, the Simera-C line successfully attempts to create an affordable counterpart to the Summilux-C's by subtly modifying (or returning to the Mandler ethos of "feeling of creamy sharpness") the basic design of modern Leica photo lenses —relying, say, more heavily on high-refractive-index glass (as Mandler did)—without having neither the capability nor the obligation to engineer its specific "look" in the same way the Summilux-C cine line does (i.e., through sophisticated pseudo-aberrations while completely neutralizing—via costly, highly exotic multiple aspherical elements and a highly corrected telecentric light path—lens breathing, chromatic aberration, corner shading etc, all of which are, of course, mostly unacceptable in mainstream high-end cinema).
Having said all that (without doubt being boring), I can only add that—among the lenses proposed or mentioned— I personally keep and immensely value—as supremely evocative, "moody," and "artistic" lenses with completely contrasting characteristics—the Summilux 35mm pre-aspherical v2 and the Zeiss Distagon 35mm ZM (alongside the Zeiss Sonnar C 50mm and, more recently—thanks in large part to this wonderful forum—the Voigtlander Nokton 50mm f/1).
My field is cinematography, directing, and DP work; consequently, I am interested solely in whether a given lens contributes to effectively evoking the atmosphere, mood, psychological tone or sentiment required for a specific narrative. The criterion, therefore, is how successfully and consistently it conveys the theme—without distracting elements that might break the spell cast upon the viewer.
The Simera-C is IMO a lens line characterized by an exceptionally refined, carefully calculated balance. However, I believe its intent—and the subtle yet significant way it renders an image—should not really be compared to Leicas, and certainly not to Voigtländers, even if it does (noticeably) adopt their basic design blueprint.
In fact, having worked with three core Leitz cine lenses, I would argue that the Simera-C's actually adhere more faithfully to the original lineage of Leica design than lenses created based on Karbe’s independent vision. The Simera-C line, I believe, actually emulates the Leica (Leitz) Summilux-C set—and does so very successfully—far more than it attempts to mimic the Hugo (and the earlier 0.8) series, which are, of course, expanded re-housed versions of modern Leica still-photography lenses.
As everybody here surely know, mechanical designer André de Winter and optical engineer Iain Neil designed the Summilux-C cinema set from the ground up, completely independently of the Leica photo lenses design, with the aim of preserving the core philosophy and character of the Mandler tradition while adapting it to the demands of modern cinematography.
(After all, De Winter indeed began his career in 1969 at Ernst Leitz Canada, working directly under the leadership of Dr. Mandler.)
Thus, to me, the Simera-C line successfully attempts to create an affordable counterpart to the Summilux-C's by subtly modifying (or returning to the Mandler ethos of "feeling of creamy sharpness") the basic design of modern Leica photo lenses —relying, say, more heavily on high-refractive-index glass (as Mandler did)—without having neither the capability nor the obligation to engineer its specific "look" in the same way the Summilux-C cine line does (i.e., through sophisticated pseudo-aberrations while completely neutralizing—via costly, highly exotic multiple aspherical elements and a highly corrected telecentric light path—lens breathing, chromatic aberration, corner shading etc, all of which are, of course, mostly unacceptable in mainstream high-end cinema).
Having said all that (without doubt being boring), I can only add that—among the lenses proposed or mentioned— I personally keep and immensely value—as supremely evocative, "moody," and "artistic" lenses with completely contrasting characteristics—the Summilux 35mm pre-aspherical v2 and the Zeiss Distagon 35mm ZM (alongside the Zeiss Sonnar C 50mm and, more recently—thanks in large part to this wonderful forum—the Voigtlander Nokton 50mm f/1).
Sep 30, 2026 at 02:19 PM
p.4 #9The ultimate 35mm one-and-done lens in M mount
Among your list the Nikkor 35/2.5 is a great lens, mine is LTM 1950s Nippon Kogaku, tiny, great construction, and still great lens and I was a fortunate to find an essentially mint one. The rest are all great choices as well
stgrove wrote:
I just wonder if those voting for the FLE I or II have also used the APO Summicron 35 in earnest?
We all vote on what we have and know, but there are so many M 35s out there.
This is my want to have list: Do I own any? You bet.
Leica APO Cron 35/2.0
VM Ultron II 35/2.0
VM 35/1.2 IV sent back the Leica 35/1.2 unopened.
Omnar NIK 35-25 f2.5
Leica 35/1.4 FLE II CF
Leica 35/1.4 Steel Rim Reissue
LLL 35/2.0 8 Element
Leica 35/2.0 KOB Germany
Leica 35/2.0 KOB Canada
Mandler 35/2.0 KOB
LLL 35/1.4 11873
MS Optics Perar II 35/3.5 coming next week
So for me it depends on...Show more →
stgrove wrote:
I just wonder if those voting for the FLE I or II have also used the APO Summicron 35 in earnest?
We all vote on what we have and know, but there are so many M 35s out there.
This is my want to have list: Do I own any? You bet.
Leica APO Cron 35/2.0
VM Ultron II 35/2.0
VM 35/1.2 IV sent back the Leica 35/1.2 unopened.
Omnar NIK 35-25 f2.5
Leica 35/1.4 FLE II CF
Leica 35/1.4 Steel Rim Reissue
LLL 35/2.0 8 Element
Leica 35/2.0 KOB Germany
Leica 35/2.0 KOB Canada
Mandler 35/2.0 KOB
LLL 35/1.4 11873
MS Optics Perar II 35/3.5 coming next week
So for me it depends on...Show more →
Sep 30, 2026 at 04:16 PM
p.4 #10The ultimate 35mm one-and-done lens in M mount
It's certainly interesting to observe the evolution of Neil's long career. It's easy to forget Leitz (as Sonderoptic) only got into cinema in 2010. He now consults for Cooke and is roundly unhappy with aspheres and insistent he can do without them. Mandler deliberately avoided expensive, complex aspherical surfaces.
I have to say, after a member put me onto the Simera 35/1.4, it's become a necessary lens for me - live and learn. The high blade counts and extensive HRI help the range greatly. It's unlikely we'll see something like the S / Thalia look in m-mount in Karbe's time at the helm. cheers.
I have to say, after a member put me onto the Simera 35/1.4, it's become a necessary lens for me - live and learn. The high blade counts and extensive HRI help the range greatly. It's unlikely we'll see something like the S / Thalia look in m-mount in Karbe's time at the helm. cheers.
Sep 30, 2026 at 05:40 PM
|
p.4 #11The ultimate 35mm one-and-done lens in M mount
I like and use only the 35 Summilux-M pre-ASPH. It's small, sharp and has f/1.4 which is handy since I only use film.
If not that, I'd vote for the f/2 '8 element' or the f/2.8 Summaron, all very nice lenses on film, all small and well made, all sharp as stopped down a bit but I really do only need and use one so I have the pre-ASPH.
If not that, I'd vote for the f/2 '8 element' or the f/2.8 Summaron, all very nice lenses on film, all small and well made, all sharp as stopped down a bit but I really do only need and use one so I have the pre-ASPH.
Sep 30, 2026 at 07:27 PM
p.4 #12The ultimate 35mm one-and-done lens in M mount
Steel Rim. I like my KOB Summicron as well, but I find the two lenses rather similar from f2. If I'm traveling, I'll take the Steel Rim just for the extra fun of the character wide open.
Oct 03, 2026 at 02:49 PM
p.4 #13The ultimate 35mm one-and-done lens in M mount
@pihipp_pj
Thanks for noting that connection...
Yes, but of course—I think the Thalia set is a perfect example of a complex, demanding design for the high-end cinema market. These lenses are astonishingly small, yet to achieve that highly specific, nuanced "Thambar-esque" quality, they essentially have to go through, say, three stages:
- first, ensuring the lens is free of aberrations during moving shots (controlling lowest level of focus breathing, keeping the bokeh clean of (regarding planed effect of modern-nostalgy combo) aberrations, and—most difficult of all—maintaining that structural integrity while in motion)
- carefully detecting and isolating the frequency range of skin tones
- applying spherical aberration only within that range... essentially playing with illumination in a painterly sense (which is, in fact, a deliberate, Mandler-esque use of spherical "aberration").
Achieving all of that in a controlled manner during a tracking shot requires a weight of (an incredibly low) 1.3–1.5 kg.
Final achievement, for example, we can see in BD Toro "Frankestein"'s illuminated faces - which Dan Laustsen shot, I think, entirely with app 16mm FF equivalent Thalia lens.
For indie filmmaking, however, that same—perhaps even more evocative—psychological effect can be achieved with my favorite lens (the Summilux 35mm v2 pre-ASPH)... but for cinema use, that lens is extremely unpredictable—unless the film is composed entirely of static shots.
That is why I like (for my specific need) the cunningly balanced quality of Simera-c 35mm. At f/1.4, the lens skillfully and deliberately retains a faint veil and a subtle glow beneath (in a sense of subsurface illumination) or above a foundation of sufficient sharpness—avoiding a "cheaply dreamy" look—echoing the Lux pre-asph tradition; at f/2, that veil of illumination and halation lifts, and the Simera takes on the character of a modern Summilux, while from f/2.8 onwards, it enters the ball park center-midframe league of the Distagon and Summilux—all the while maintaining the smoothness of its 16-blade aperture and a serene, deep, and spatial focus roll-off.
(I’m not sure—and I haven’t seen a comparison anywhere, nor do I own the Simera photo lens—but Thypoch, if I'm not mistaken, highlights the use of an additional internal coating in the C-line; this could potentially yield a slightly cleaner and perceptually tiny touch sharper rendering, and certainly better consistency during handheld shooting when lighting angles change.)
Thanks for noting that connection...
Yes, but of course—I think the Thalia set is a perfect example of a complex, demanding design for the high-end cinema market. These lenses are astonishingly small, yet to achieve that highly specific, nuanced "Thambar-esque" quality, they essentially have to go through, say, three stages:
- first, ensuring the lens is free of aberrations during moving shots (controlling lowest level of focus breathing, keeping the bokeh clean of (regarding planed effect of modern-nostalgy combo) aberrations, and—most difficult of all—maintaining that structural integrity while in motion)
- carefully detecting and isolating the frequency range of skin tones
- applying spherical aberration only within that range... essentially playing with illumination in a painterly sense (which is, in fact, a deliberate, Mandler-esque use of spherical "aberration").
Achieving all of that in a controlled manner during a tracking shot requires a weight of (an incredibly low) 1.3–1.5 kg.
Final achievement, for example, we can see in BD Toro "Frankestein"'s illuminated faces - which Dan Laustsen shot, I think, entirely with app 16mm FF equivalent Thalia lens.
For indie filmmaking, however, that same—perhaps even more evocative—psychological effect can be achieved with my favorite lens (the Summilux 35mm v2 pre-ASPH)... but for cinema use, that lens is extremely unpredictable—unless the film is composed entirely of static shots.
That is why I like (for my specific need) the cunningly balanced quality of Simera-c 35mm. At f/1.4, the lens skillfully and deliberately retains a faint veil and a subtle glow beneath (in a sense of subsurface illumination) or above a foundation of sufficient sharpness—avoiding a "cheaply dreamy" look—echoing the Lux pre-asph tradition; at f/2, that veil of illumination and halation lifts, and the Simera takes on the character of a modern Summilux, while from f/2.8 onwards, it enters the ball park center-midframe league of the Distagon and Summilux—all the while maintaining the smoothness of its 16-blade aperture and a serene, deep, and spatial focus roll-off.
(I’m not sure—and I haven’t seen a comparison anywhere, nor do I own the Simera photo lens—but Thypoch, if I'm not mistaken, highlights the use of an additional internal coating in the C-line; this could potentially yield a slightly cleaner and perceptually tiny touch sharper rendering, and certainly better consistency during handheld shooting when lighting angles change.)
Oct 09, 2026 at 12:56 AM
p.4 #14The ultimate 35mm one-and-done lens in M mount
EchoLocation wrote:
Steel Rim. I like my KOB Summicron as well, but I find the two lenses rather similar from f2. If I'm traveling, I'll take the Steel Rim just for the extra fun of the character wide open.
This is a useful point of reference. Thanks! (Whether your Steel Rim is original ~1961, or Re-Edition.)
The “KOB” does continue to fascinate, in spite of my having read that now-well-known article by the inventor of that term having effectively deconstructed what he had originally written. (Notice that I did not say that he wrote a “retraction.”) I consider myself blessed that I bought my Re-Edition Steel Rim Summilux-35mm Classic in mid-2023, and received a “good” one. This will probably remain the only Leica M lens I have bought new, rather than pre-owned. Notably, the list price has increased by more than $1K US, since then!
I am not changing my assertion that my “one-and-done” 35mm M lens would be my Carl Zeiss Distagon 35mm f/1,4 ZM. I am glad that this whole thing is a “35mm thought exercise.” One can possess multiple tools, for multiple tasks. Not all of my wrenches that are made for 10mm bolts/nuts are of the same length. The longer length of the Distagon, plus the greater barrel diameter, allows room for more optical correction, in its lens elements.
Plus, I remain fiercely loyal to the one Leica lens which revived my desire to continue photographing much of anything, which is a 50mm, the Summilux-M ASPH. I capture more total 35mm images, but that includes many hasty shots, pre-focused, some shot “instinctively,” some shot in bursts.
Steel Rim. I like my KOB Summicron as well, but I find the two lenses rather similar from f2. If I'm traveling, I'll take the Steel Rim just for the extra fun of the character wide open.
This is a useful point of reference. Thanks! (Whether your Steel Rim is original ~1961, or Re-Edition.)
The “KOB” does continue to fascinate, in spite of my having read that now-well-known article by the inventor of that term having effectively deconstructed what he had originally written. (Notice that I did not say that he wrote a “retraction.”) I consider myself blessed that I bought my Re-Edition Steel Rim Summilux-35mm Classic in mid-2023, and received a “good” one. This will probably remain the only Leica M lens I have bought new, rather than pre-owned. Notably, the list price has increased by more than $1K US, since then!
I am not changing my assertion that my “one-and-done” 35mm M lens would be my Carl Zeiss Distagon 35mm f/1,4 ZM. I am glad that this whole thing is a “35mm thought exercise.” One can possess multiple tools, for multiple tasks. Not all of my wrenches that are made for 10mm bolts/nuts are of the same length. The longer length of the Distagon, plus the greater barrel diameter, allows room for more optical correction, in its lens elements.
Plus, I remain fiercely loyal to the one Leica lens which revived my desire to continue photographing much of anything, which is a 50mm, the Summilux-M ASPH. I capture more total 35mm images, but that includes many hasty shots, pre-focused, some shot “instinctively,” some shot in bursts.
Oct 09, 2026 at 05:09 AM
p.4 #15The ultimate 35mm one-and-done lens in M mount
I was referring to the Reissued Steel Rim. I haven't had the opportunity to shoot with an original yet. Either way, unless I win the lottery, the Reissue would be my preferred lens as I simply wouldn't be inclined to carry something so expensive around with me as I travel. It would be more stress than it's worth.
Oct 10, 2026 at 12:15 PM
p.4 #16The ultimate 35mm one-and-done lens in M mount
vashadobri, thank you for the fine explanation, the foootage Leitz provided on the Thalia is great. Hard to believe they have only been involved in cinema for such a short time.
Thypoch always intended the range to be 'C-centric' so those lenses got more special attention, the audience being much more demanding.
They have to be since their output is a labor of love, to put it that way - they can't easily move on and take more images. I'm surprised more lens makers have not followed suit - Sirui seems the most likely.
It's a big surprise that the S lenses, the S system, is regarded as a kind of cul de sac, well more of a pause hopefully, caused by external factors. Very few stills people even knew of it, but those lenses are an excellent example of what is needed.
If people don't see what can be achieved in people photography they never know what they have missed. I'm hoping the Chinese aesthetic and industry drive will encourage the establishment actors to do more.
Thypoch always intended the range to be 'C-centric' so those lenses got more special attention, the audience being much more demanding.
They have to be since their output is a labor of love, to put it that way - they can't easily move on and take more images. I'm surprised more lens makers have not followed suit - Sirui seems the most likely.
It's a big surprise that the S lenses, the S system, is regarded as a kind of cul de sac, well more of a pause hopefully, caused by external factors. Very few stills people even knew of it, but those lenses are an excellent example of what is needed.
If people don't see what can be achieved in people photography they never know what they have missed. I'm hoping the Chinese aesthetic and industry drive will encourage the establishment actors to do more.
Oct 10, 2026 at 02:44 PM
p.4 #17The ultimate 35mm one-and-done lens in M mount
Damnit. Now I want Leica’s 35/2 APO….
Oct 11, 2026 at 09:33 AM
p.4 #18The ultimate 35mm one-and-done lens in M mount
Peace Optics 35mm F1.4 Travel Version
(Chris in Photography)
(Chris in Photography)
Oct 24, 2026 at 01:27 AM
p.4 #19The ultimate 35mm one-and-done lens in M mount
The Light Lens Lab 35 APO is becoming my daily driver. I’m now looking for a more quirky, and hopefully ultra fast 35 to pair it with for M shooting. I think LLL did a commendable job with this lens.
Oct 24, 2026 at 09:28 AM
p.4 #20The ultimate 35mm one-and-done lens in M mount
Ah, Chris! I've seen her content over quite a period of time, very informative to give people a taste of the Chinese lens perceptiveness. Where would we be without the internet.
Oct 24, 2026 at 01:54 PM