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These are some of Old Fast Glass’ most exclusive, as well as most beautiful lens sets. At the heart of these 2 sets, are some of the most rare, legendary, and coveted Leica M lenses from the 1960s and 1970s. The lenses use exotic, and high-performing “rare earth” optical glass including lanthanum glass to achieve such incredible optical performance 50 to 60 years ago! These lenses are made to shoot wide open, which is challenging on the faster primes, but it’s where their beauty really come across.

LEICA SUMMILUX / NOCTILUX

It’s hard to find 3 more stunning lenses than the 1970s Leica M SUMMILUX 35mm f1.4, 75mm f1.4 and NOCTILUX 50mm f1. The 35mm f1.4 was unmatched in speed and sharpness in the 1970s and it holds up today. The 75mm f1.4 is arguably one of the most beautiful portrait lenses ever made, and far more beautiful than pretty much any 80mm and 85mm you can find. The NOCTILUX 50mm f1 is a legend. Not to be confused with the more well-know and more modern NOCTILUX 50mm f0.95 - the 50mm f1 is from the 70s, and we feel it’s much more beautiful than the modern f0.95 version.

Together these 3 lenses share a character unlike any other lenses. They are sharp, but because of some extra spherical aberration, they have a very subtle halation, that is very flattering on your subject, and ideal for digital sensors. Flares are gorgeous, bokeh has a subtle texture to it that looks wonderful wherever you set your focus.

Another star in the set is the 25mm. This lens is a Zero Optik exclusive, and was built adding optical elements to a 35mm f1.4. The new optics are coated to match the original Leica coating perfectly, so the set is color and character matched. The set is rounded out by the Leica 90mm and 125mm.

LEICA SUMMICRON

In the 1960s Leica confidently declared the 35mm, 50mm, and 90mm Summicrons to have “unequaled optical qualities,” and they arguably were right, since they outperformed just about every f2 lens at the time.

The lenses are sharp wide open, produce zero chromatic aberration. They have medium contrast, and pronounced, gorgeous, magenta, gold, and purple lens flares. They flare easily, but they still handle backlight amazingly well for their age. Bokeh is unique, with a subtle texture, and it’s totally consistent across the set. For this set, Zero Optik built a custom 25mm lens based on the 35mm SUMMICRON, and it’s a perfect match in regard to character and performance.

Zero Optik’s gorgeous housings offer matching gear positions, new matte-finished perfectly rounded irises, generous 330 degree focus rotation, and greatly improved close focus distances.

For season 2 of PACHINKO, cinematographer Ante Cheng used the SUMMICRON 35mm, 50mm, and 90mm for almost all of the spherical content. Trailer is below.

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