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Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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p.2 #1 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Distortion

Most 50mm lenses tend to show some degree of pincushion distortion depending on their optical design, but that's not the case with the Light Lens Lab 50mm f/1.9 Rigid-ZS6. Straight out of the camera, distortion is virtually nonexistent. I didn't need to apply any correction in Lightroom, which shows how well-controlled this lens really is. Distortion correction is definitely one of its standout strengths, especially given its compact form.

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm 1/640s 100 ISO 0.0 EV

Jun 01, 2026 at 06:24 PM

EMH2025
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p.2 #2 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Reading so far you may convince me to swap this lens for my (like yours) quite good copy of the vintage rigid that I also we term much beloved. Looking forward to the rest of the tests, I guess so far this is standard rather low contrast but I know that is coming.

Fred Miranda wrote:
Distortion

Most 50mm lenses tend to show some degree of pincushion distortion depending on their optical design, but that's not the case with the Light Lens Lab 50mm f/1.9 Rigid-ZS6. Straight out of the camera, distortion is virtually nonexistent. I didn't need to apply any correction in Lightroom, which shows how well-controlled this lens really is. Distortion correction is definitely one of its standout strengths, especially given its compact form.

Jun 01, 2026 at 06:37 PM

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p.2 #3 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

EMH2025 wrote:
Looking forward to your comparison of the standard v low contrast so to decide if I "need" a standard as well. So far it is looking like the standard may give a lot more of what I already have in the Leica rigid and perhaps other lenses. So I got the low contrast to extend into other character.

It's pretty obvious the "Low Contrast" version shows reduced contrast in some of my infinity distance resolution and contrast tests (not yet published). I'm not sure how Light Lens Lab achieves this, and it doesn't appear to be solely different coatings.

I'll compare both versions side by side in rendering tests to get a clearer idea of what's actually going on.

One thing is clear: both show the same "purplish" ghosting flare I've also seen in the original Light Lens Lab 50mm f/2 SP II (not the Rigid SPII). While many prefer a warmer amber flare, I actually like the distinct character of this purple violet rendition. Have you seen this with your copy as well?

Jun 01, 2026 at 09:08 PM

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p.2 #4 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Fred,

I would need Sun for that I am in Alaska at the moment and when I have been out light has been flat due to clouds
So flaring is off the table so far, cleared a bit today and I could have but didn't because engaged with other things. I will give it a shot when circumstances permit. With the light I have had low contrast outdoors is really low contrast at 1.9. I shot a few indoors and low contrast I think will be good at 1.9 indoors- good for tourist things. So far I am not thinking this is that good for more scenics wide open, but it improves a lot with one stop and with two it is really good. That might not be the case for street, I have not done that yet, need to visit a fishing village and get catch of the day and fishermen to test that idea. I am thinking low contrast and bright light scenic might not mesh well especially in color. Monochrome does seem better to me outdoors at 1.9. I'd like to get a moose but 50 mm is a bit wide for as close as I want to be to avoid an altercation, maybe the 75 SPII or a 90/135 would be better. Late spring moose always seem a bit grumpy. as they are in the fall. Float planes I posted on the flight line are nice and safe.

Fred Miranda wrote:
It's pretty obvious the "Low Contrast" version shows reduced contrast in some of my infinity distance resolution and contrast tests (not yet published). I'm not sure how Light Lens Lab achieves this, and it doesn't appear to be solely different coatings.

I'll compare both versions side by side in rendering tests to get a clearer idea of what's actually going on.

One thing is clear: both show the same "purplish" ghosting flare I've also seen in the original Light Lens Lab 50mm f/2 SP II (not the Rigid SPII). While many prefer a warmer amber flare, I actually like the distinct...Show more →

Jun 01, 2026 at 09:49 PM

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p.2 #5 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Minimal Focus Distance: Resolution and Contrast

The Light Lens Lab 50mm f/1.9 Rigid-ZS6 focuses down to 0.7m, allowing photographers to take full advantage of the rangefinder system's closest focusing capability.

Based on the classic Dallmeyer Super Six 2-inch f/1.9 optical formula, the lens stays true to its historical roots and does not employ floating elements. Conventional wisdom would suggest that a design optimized primarily for longer distances should show some compromise at close range. Surprisingly, that was not my experience. Even at the minimum focusing distance, IQ is already very strong wide open, with only small gains from stopping down.

For this evaluation, I tested the "Low Contrast" version at 0.7m using apertures from f/1.9 through f/4. Resolution and contrast are impressive straight from maximum aperture, and by f/2.8 the lens is already operating near its peak performance. The standard version should deliver an even higher level of contrast.

Focus shift is present, but only to a very minor degree. I confirmed this through ruler tests and by comparing images captured at f/4 after initially focusing at f/1.9. In practical use, the shift is small enough that it is unlikely to affect real-world images and overall IQ remains consistent throughout the aperture range tested.

The following image sequence illustrates the lens's behavior from f/1.9 to f/4. Focus was done at f/1.9, then the aperture was stopped down to f/2.8 and f/4 without refocusing, allowing any focus shift to be detected if any. I also include a comparison between images focused wide open and stopped down to f/4, versus images focused directly at f/4, to show the minimal impact of focus shift on final image quality.

At 0.7m MFD using LiveView

LEFT: f/1.9 | RIGHT: f/2.8

LEFT: f/2.8 | RIGHT: f/4

LEFT: Focused at f/2 and stopped down to f/4 | RIGHT: Focused and captured at f/4

Jun 02, 2026 at 09:41 PM

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p.2 #6 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Infinity Resolution and Contrast compared to Light Lens Lab 50mm f/2 "SPII"(M11)

Here we have two Light Lens Lab recreations inspired by classic optical designs being compared for resolution and contrast. One is based on the Cooke 50mm f/2, while the other traces its roots to the Dallmeyer Super Six 50mm f/1.9. Since both lenses place a strong emphasis on rendering and character rather than maximizing optical correction, I think this comparison provides useful context for photographers considering either design.

One thing I noticed immediately is that both lenses produce a slightly warmer, more amber color rendition, likely influenced by their coatings. At f/2, the ZS6 has a noticeable advantage in the very center of the frame, particularly in contrast. The SP II, however, still resolves a surprising amount of fine detail beneath its lower-contrast rendering. By f/2.8, the gap largely disappears and center performance becomes quite similar. Stopped down further, it becomes increasingly difficult to distinguish between the two in the central portion of the image.

Outside the center, performance is remarkably close even at wider apertures. That said, the SP II appears to pull ahead once both lenses are stopped down to f/4 through f/8, especially toward the extreme corners. Some of this behavior is likely related to the different field curvature shape of each design, which can influence how the subject is captured across the frame.

Overall, both lenses are highly capable performers. While neither was designed with modern optical perfection as the primary goal, both deliver excellent resolution and contrast when stopped down, making them more than capable for demanding applications such as travel, and street photography.


	?ts=1780456041

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

PS: 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 to Light Lens Lab 50mm f/2 "SPII"(M11)

f/2

f/2.8

f/4

f/5.6

f/8

Jun 02, 2026 at 10:08 PM

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p.2 #7 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Mid-field Resolution and Contrast
Infinity Resolution and Contrast compared to Light Lens Lab 50mm f/2 "SPII"(M11)

f/2

f/2.8

f/4

f/5.6

f/8

Jun 02, 2026 at 10:09 PM

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p.2 #8 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Extreme corner Resolution and Contrast
Infinity Resolution and Contrast compared to Light Lens Lab 50mm f/2 "SPII"(M11)

f/2

f/2.8

f/4

f/5.6

f/8

Jun 02, 2026 at 10:10 PM

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p.2 #9 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Beautiful day for a road trip to Talkeetna Alaska, a quaint town on the railway to Denali, can be overrun with cruisers dropped off for some hours but we got there early this morning. The super 6 rigid was a lens of the day, low contrast version, good 3D pop with environmental portrait, landscape is fine, not apo summicron 50, but stopped down to 5.6 can be pressed into service. Walking around town I mostly used F2.8 for a little stopdown contrast and thought that looked good through the M11 EV! view finder.

Very filmlike through the viewfinder, enhanced with Cobalt presets mostly kodachrome, and is in my opinion very good for this type of street/tourism photography. My impression is this would be a great lens with a character vintage scene- trip to Europe or something. I would have liked lower angle light, high in the sky Sun synergistic with the low contrast render.

Bright sun, I didn't think flaring was any issue.

I appreciate Fred's careful comparative reviews, I just go around try the lens in a lot of different circumstances and try to make mental notes of where I think lens will work well so I can edit my camera bag for an outing. For medium distance, film like, environmental portraits vintage character, three D pop, take it on the road to character scenes this is a lens to use in my "tests" so far.

Edited on Jun 03, 2026 at 10:09 PM · View previous versions

Jun 03, 2026 at 06:22 PM

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p.2 #10 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Sunstar rendering

The Light Lens Lab 50mm f/1.9 Rigid-ZS6 uses an 11-blade aperture, which results in 22-point sunstars. Because the blades are slightly concave and petal-shaped, the aperture remains fairly circular when stopped down but with a distinct scalloped outline. As a result, the sunstar rays are not perfectly uniform, which may not appeal to shooters who prefer very clean, symmetric sunstars.

The lens takes a more restrained approach to sunstars overall. From wide open up to around f/8, the effect is very subtle, soft and organic. From about f/11 to f/16, the sunstars become more defined, but still somewhat complex due to the 22-ray structure. At f/22, like most lenses, the pattern becomes more chaotic and I would generally avoid using it for sunstars at that aperture.

The lens also shows noticeable ghosting and veiling flare when a bright light source is in or near the frame, even when partially blocked, as seen in the samples below. This also gives a useful indication of the flare behavior, which some may actually find aesthetically pleasing.

Interestingly, the ghosting flare leans toward a purple-blue hue, which Light Lens Lab noted may be consistent with the original Dallmeyer Super Six 2-inch f/1.9. I can't personally verify that comparison since I do not have the original lens, but this same flare coloration is a characteristic shared by both the standard and low contrast versions.

Below is a sequence showing the transition from f/1.9 to f/22 in full-stop increments. With an 11-blade aperture, the lens produces 22-point sunstars.

Also included is an uncorrected view of vignetting across the full aperture range.

f/1.9

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/4000s 100 ISO 0.0 EV

f/2.8

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/3200s 100 ISO 0.0 EV

f/4

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/2500s 100 ISO 0.0 EV

f/5.6

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/2000s 100 ISO 0.0 EV

f/8

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/1250s 100 ISO 0.0 EV

f/11

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/500s 100 ISO 0.0 EV

f/16

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/200s 100 ISO 0.0 EV

f/22

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm 1/160s 100 ISO 0.0 EV

Jun 03, 2026 at 08:31 PM

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p.2 #11 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

EMH2025 wrote:
Beautiful day for a road trip to Talkeetna Alaska, a quaint town on the railway to Denali, can be overrun with cruisers dropped off for some hours but we got there early this morning. The super 6 rigid was a lens of the day, low contrast version, good 3D pop with environmental portrait, landscape is fine, not apo summicron 50, but stopped down to 5.6 can be pressed into service. Walking around town I mostly used F2.8 for a little stopdown contrast and thought that looked good through the M11 EV! view finder.

Very filmlike through the viewfinder, enhanced with Cobalt...Show more →

Lovely results! The only thing I don�t love is the hard vignetting on some of the images with the corners going almost full black and quite abruptly. Interestingly I don�t see that on Fred�s samples and not on all of your images - could be focus distance dependent (but not seeing it in some infinity shots, so unlikely?) or maybe you were using a filter or lens hood that causes it?

Jun 03, 2026 at 11:19 PM

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p.2 #12 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Fred Miranda wrote:
Sunstar rendering

The Light Lens Lab 50mm f/1.9 Rigid-ZS6 uses an 11-blade aperture, which results in 22-point sunstars. Because the blades are slightly concave and petal-shaped, the aperture remains fairly circular when stopped down but with a distinct scalloped outline. As a result, the sunstar rays are not perfectly uniform, which may not appeal to shooters who prefer very clean, symmetric sunstars.

The lens takes a more restrained approach to sunstars overall. From wide open up to around f/8, the effect is very subtle, soft and organic. From about f/11 to f/16, the sunstars become more defined, but still somewhat complex...Show more →

Imo the sunstar looks great at f11 and f16!

The typical 10-12 point highly symmetric, even length sunstars that CV lenses produce look good for artificial light sources but imo this more �chaotic� rendering is more fitting for our beloved thermonuclear explosion aka the sun.

Jun 03, 2026 at 11:23 PM

EMH2025
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p.2 #13 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Thanks ! Yes there is fall off and with the images I shot I could easily crop but I left it in to show full frame. Some of my images are near wide open and one is 5.6 the scenic of Denali like any lens the fall off varies with how wide open. I almost automatically set up my shots to cropable (is that a word ?) anyways after some decades I generally do a walking zoom with the idea that I might want remove corners. So it really doesn't bother me because to is baked into my process. That is how I have worked for a long time and with 61 mp on a Leica cropping a bit isn't really an issue. Part of the reason I don't use external finders for 28 mm the finder on old Ms is almost 28 (or 35 if M3) and even in the film and darkroom days decades ago I had my crop in my mind. Also part of the reason I am usually not concerned much about far corner sharpness, I assume I might loose it anyways. No lens hood today, I have them, but didn't use today, it stayed in the bag. Everyone has preferences on how they work, I generally work on an 80% image basis and assume the outmost 20% is a variable and there is my falloff, except of course with a noct wide open then fall off starts very quickly from the center. I also didn't make a big effort to correct, wanting show what I got.

fjablo wrote:
Lovely results! The only thing I don�t love is the hard vignetting on some of the images with the corners going almost full black and quite abruptly. Interestingly I don�t see that on Fred�s samples and not on all of your images - could be focus distance dependent (but not seeing it in some infinity shots, so unlikely?) or maybe you were using a filter or lens hood that causes it?

Jun 04, 2026 at 12:14 AM

Fred Miranda
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p.2 #14 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

fjablo wrote:
Imo the sunstar looks great at f11 and f16!

The typical 10-12 point highly symmetric, even length sunstars that CV lenses produce look good for artificial light sources but imo this more �chaotic� rendering is more fitting for our beloved thermonuclear explosion aka the sun.

Good point. I have changed my mind about this lately and now prefer a more organic look. Symmetrical sunstars may work well for some applications, but a slightly more unpredictable and asymmetric sunstar, especially when together with a bit of flare, feels more natural and appealing in most of my images these days.

Jun 04, 2026 at 09:33 AM

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p.2 #15 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Samples 2: Harsh Lighting, Low Contrast version

Most of the images were shot wide open at f/1.9 under harsh lighting with varying subject distances. This is the Low Contrast version of the lens.

Post-processing was kept minimal, with only light sharpening and small exposure adjustments applied. I used the Adobe Color or Monochrome profile.

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/3200s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/4000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2500s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/1600s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/4000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

Jun 04, 2026 at 03:04 PM

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p.2 #16 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Fred Miranda wrote:
Good point. I have changed my mind about this lately and now prefer a more organic look. Symmetrical sunstars may work well for some applications, but a slightly more unpredictable and asymmetric sunstar, especially when together with a bit of flare, feels more natural and appealing in most of my images these days.

Agree Fred. This one though nothing great captured my attention a bit in the way you describe.

Jun 05, 2026 at 07:52 AM

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p.2 #17 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Flare Resistance

The Light Lens Lab 50mm f/1.9 Rigid-ZS6 delivers some interesting flare behavior. Its coatings and optical design give it noticeably better resistance to veiling flare than many vintage lenses, but ghosting will still show up when shooting into strong light sources.

The ghosting tends to lean toward a purple blue hue, which Light Lens Lab suggests may echo the character of the original Dallmeyer Super Six 2 inch f/1.9. I can't personally confirm that comparison since I have not used the original lens, but this coloration is consistent across both the standard and low contrast versions. Depending on the angle and intensity of the light, it can also shift toward a warmer amber tone (see samples below), so the exact look varies quite a bit with conditions.

From a modern optical standpoint, these traits would typically be labeled as imperfections. That said, the Rigid ZS6 is not designed around maximum flare suppression. It leans into a more classic rendering philosophy, aiming to echo Dallmeyer style characteristics and the kind of behavior that made older lenses visually compelling in the first place. In the right situations, the flare can add atmosphere and a cinematic quality, although it does require some care, especially on a Leica rangefinder where the optical viewfinder does not fully show how light is interacting with the lens.

In real world use, flare is relatively restrained. When it does appear, it is usually subtle and tends to add character rather than distract from the image. The examples below represent a small minority of the images I've made with this lens so far.

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/4000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/100s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/250s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/1000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/400s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2500s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/4000s 100 ISO -1.0 EV

Jun 10, 2026 at 04:54 PM

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p.2 #18 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Samples 3: A walk near the beach at Late Afternoon Light

Most of the images were captured wide open at f/2 in late afternoon light, with subjects positioned at a variety of distances.

Post processing was intentionally kept to a minimum, consisting only of minor sharpening (40, 0.8, 20, 50) and small exposure adjustments. I used the Adobe Standard or Color profiles throughout to allow the lens�s natural color rendition and tonal character to shine through.

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/1600s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/400s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/500s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/1250s 100 ISO 0.0 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/4000s 100 ISO -0.7 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2500s 100 ISO -0.7 EV

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/4000s 100 ISO -1.0 EV

f/2.8

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/3.2 1/4000s 100 ISO -0.7 EV

Jun 10, 2026 at 05:50 PM

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p.2 #19 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

Fred,
All of these are really good. Some are excellent. Love what this lens does. LLL is knocking it outa da park.
Great work/review as always. Thanks.
Joe D

Jun 10, 2026 at 09:56 PM

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p.2 #20 · Light Lens Lab 50mm f/1.9 "Rigid-ZS6" Review

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Rendering Comparison: ZS6 Standard vs Low Contrast, alongside 50mm f/1.5 Z21 and 50mm f/2 SP II

This comparison looks at rendering differences in contrast, micro-contrast, and overall character between the Rigid-ZS6 in both Standard and Low Contrast versions, and how they stack up against the more established 50mm f/1.5 Z21 (f/1.5 and f/2) and 50mm f/2 SP II.

Light Lens Lab 50mm f/1.5 Z21, LLL 50/1.9 ZS6 "Standard", LLL 50/1.9 ZS6 "Low Contrast" and LLL 50mm f/2 SP II

The Light Lens Lab 50mm f/1.5 Z21 has a very distinct character, with lower resolution and contrast at the focus point, especially once you move away from the center. Wide open at f/1.5 it shows more residual spherical aberration (SA), and the field curvature is more pronounced than the other lenses in this comparison. Stopping down to f/2 preserves most of that signature look, with only a mild lift in contrast from reduced aberrations and slightly smoother highlights in the central area. It also leans a bit more neutral in color temperature compared to the others. Overall, it has a very recognizable rendering, with clear highlight outlining and strong optical vignetting that produces cat's eye bokeh and a touch of swirl.

I would describe the Light Lens Lab 50mm f/1.9 Rigid-ZS6 Standard as a "mini" 50mm f/1.5 Z21. The rendering is not identical, but among the lenses tested it comes the closest. At f/2, the ZS6 delivers a remarkably similar overall character and could easily serve as an alternative to the Z21 for those who don't need the extra speed of f/1.5.

There are, however, a few subtle differences. The ZS6 renders with a slightly warmer tonal balance and shows less optical vignetting than the Z21 even at f/2. While cat's-eye highlights, mild swirl, and subject separation are still present, these traits are more restrained. Field curvature has a different shape, and off-axis performance is a touch stronger, allowing the lens to resolve more detail away from the center. The result is a rendering that feels a bit more even and consistent across the frame while retaining much of the Z21�s classic character.

The Light Lens Lab 50mm f/1.9 Rigid-ZS6 Low Contrast version shares the same core behavior as the Standard, just with slightly reduced contrast. The difference is subtle in most real world use and honestly could come down to preference. I noticed it more clearly at longer distances near infinity, which I will be showing separately.

The Light Lens Lab 50mm f/2 SP II also leans into a warmer rendering, similar to the ZS6. It produces very defined, outlined bokeh balls that stay fairly round even toward the edges due to its relatively low optical vignetting, which I think is part of its charm. Detail rendering is strong even off-axis, but like the others at f/2, it maintains a gentler overall contrast that keeps the look smooth while still retaining good resolution.

I will present resized images for each scene (shot in 10:00am lighting) in the following order, with each scene showing four lenses for direct comparison:

⦿ Light Lens Lab 50mm f/1.5 Z21 at f/1.5
⦿ Light Lens Lab 50mm f/1.5 Z21 at f/2
⦿ Light Lens Lab 50mm f/1.9 Rigid-ZS6 Standard at f/1.9
⦿ Light Lens Lab 50mm f/1.9 Rigid-ZS6 Low Contrast at f/1.9
⦿ Light Lens Lab 50mm f/2 SP II at f/2

Each scene will follow the same sequence so rendering differences can be compared consistently under identical lighting and framing. All images were shot on a tripod, allowing for reliable comparison of field of view and uncorrected vignetting. The same sharpening settings (40, 0.7, 20, 50) were applied across all frames, and the Adobe Color profile was used for every image to keep processing consistent.

Scene 1 at 2 meters:

at f/1.5

LEICA M10-P Light Lens Lab 50mm f/1.5 Z21 lens 50mm f/2.0 1/2500s 100 ISO 0.0 EV

at f/2

LEICA M10-P Light Lens Lab 50mm f/1.5 Z21 lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

at f/1.9

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

at f/1.9

LEICA M10-P Light Lens Lab 50mm f/2 SP II lens 50mm f/2.0 1/1600s 100 ISO 0.0 EV

at f/2

LEICA M10-P Light Lens Lab 50mm f/2 Rigid-ZS6 Low Contrast lens 50mm f/2.0 1/2000s 100 ISO 0.0 EV

Jun 11, 2026 at 01:39 PM

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