Two years ago, I reviewed a replica of the famed Leitz Double Aspheric 35/1.4 lens (11873). Although I was very satisfied overall with the lens, issues with chromatic aberration and lens flare prevented Light Lens Lab from issuing it commercially. But now, they seem to have succeeded with their second attempt.
A little context before diving into this new review. Almost 30 years ago I bought the original Leica 35mm f/1.4 Summilux (11873) lens, and used it extensively for over 25 years. When its monetary value increased from just “very expensive” to that of a rare collectable valued today at around $30,000, I sold it. The new Light Lens Lab 35 f/1.4 Double Aspheric Replica will be significantly less than that!
Prototyping
With part of my proceeds from selling the 11873 Summilux, I bought an APO-Summicron-M 35mm f/2 ASPH, and still had plenty of left-over funds. But in my subconscious, there was always a sneaking affection for the Leitz.
I had been given an earlier prototype of the Light Lens Lab 35 f/1.4 Double Aspheric Replica to test, and deduced that it was not ready for the market. Since LLL already had other products in its pipeline, it took until now for them to remedy this situation. LLL recently lent me a new prototype of the 35mm f/1.4 AA replica for testing. Many people told me they were also eagerly awaiting this lens!
I found what Mr. Zhou, LLL’s owner, had to say about this situation very interesting, so here are some of his thoughts, filtered through North American LLL rep David Yu-Heng Chen’s translation, and then my editing.
Creating two distinct lens families
Mr. Zhou had previously commented that his company was going to be making two different lines of lenses: first, replicas or remakes/updates of classic lenses (where one expects similar period imaging characteristics to the original), and second, new, state-of-the-art lenses that show the best that their company can do.
“One lens that I will have to say combines both lines is the 35mm f/1.4 Aspherical (11873), which will be our next release. I believe it is a good mix of vintage rendering with its ‘Leica Glow’, and a very contemporary product in terms of rendering line-to-line performance.”
Vintage rendering with modern performance
“The optical design of the original shows its 40-year-old age, with fringing and diffraction in its line-to-line rendering. We have remade the lens in part to be optimised for modern digital sensors, where all purple fringing / chromatic aberrations are mostly removed.”
“This new version of the 35mm f/1.4 Aspherical (11873) combines the best of both lines of thinking and will be our next release. In more specific terms, it has the vintage rendering that creates the highly elusive ‘Leica Glow’ in its out of focus bokeh.”
“At the same time, it is much better corrected than its predecessor (11869 / 11870) in terms of its technical performance. It is truly a modern product in terms of rendering line-to-line performance. And in some ways, it is the best-performing 35mm f/1.4 lens that Leica has ever made.”
Changing how the lenses are made
I have been informed of three important detail changes: the two aspheric elements are now moulded, manually controlled machine polished, and the rear element is slightly longer than on the original double aspherical. This is due to the improvements in terms of spacing between aspherical/spherical elements during assembly.
And finally, “a high-refractive low-dispersion and achromatic element was introduced alongside the new aspherical elements to reduce distortion, diffraction, and chromatic aberration. At the same time, it maintains the legendary character of the lens through the use of lanthanide elements.”
A lens that fits between the two lines
I take Mr. Zhou’s thinking to mean that the 35mm f/1.4 AA falls between the categories, but clearly, mostly tends towards state-of-the-art. The lens diagrams show there is no added element in the new LLL lens over the Leica original. That means an element that was present in the original must have been replaced by the achromat version referenced above.
Here are the curves / graphs I received.
And for comparison, wide open, here are the curves from the Leica original and LLL’s first attempt
Some small surprises
The prototype lens I received for testing was a bit of a surprise in a number of ways. First, it was chrome, not black; secondly it had no shade, and I had to find one in my collection, an E46 screw-in, to mount for testing. It seemed slightly larger than the original, likely due to the new lens element configuration.
Lastly, its rangefinder coupling focused minimally too long, so that for critical focus at f/1.4 I had to use a Visoflex. However, focus was close enough so that for the average shot, in the f/4 – f/5.6 – f/8 range I simply used the rangefinder.
David had written that the appearance of the front of this prototype was slightly different from what will be commercially available.
Putting the 35mm f/1.4 AA (11873) to the test:
First, I wanted to determine if the claimed improvement in chromatic aberration could be easily seen. I took identical images of tree branches at f/2.0 with both the new replica and with an APO Summicron 35/2 Aspheric. At about 100x magnification, I can see no major differences. That’s impressive.
First you can see the 11873, then APO:
Next is how it behaves shooting into the sun:
There are some internal reflections, but it shows better suppression of veiling flare than I had expected.
Wide open and focused with the Visoflex, the lens is quite sharp. Here is my obligatory shot of my brother-in-law, then the centre portion, which has a wonderful roundness.
The bird-feeder test:
And here is a repeat of the little bird-feeder shot that I made with the earlier prototype as a test for edge sharpness/field curvature. I first focused on the feeder, then swung the feeder so that it was nearer the edge of the frame.
It was not quite as sharp as with the earlier prototype, but it was very, very close. There is some chromatic aberration on the wires. From the MTF curves, we would expect some fall-off of fine and very fine detail in the field.
Here is the same bird-feeder shot with the original replica.
And so, onto a couple of scenic shots, taken at f/5.6. The second one was pre-visualised, then cropped. These images all have great presence and the famed ‘Leica glow.’
A little testing in Montreal:
This lens was then taken to the Montreal LSI Annual Meeting, and I took a few images in the centre of old Montreal, which you can see below. All were shot around f/4 to f/5.6, and most of them cropped.
The lens performs pretty much as well as the excellent previous version. Which is to say very reminiscent of the Leica original. Actually, it is better with my digital sensor, and without any appreciable chromatic aberration or flare. I would have been quite satisfied owning the earlier version, but this is better still. It is everything I have been waiting for.
| Pricing and Availability of the Light Lens Lab 35mm f/1.4 Aspherical “11873” |
| Aluminum (Black Paint / Chrome Finishes) USD $1,399 €1230, £1080 |
| Titanium Grey Limited Edition USD $1,699 €1500 £1300 |
| Titanium Grey Limited Edition: Available December 1st, 2025 |
| Aluminum Black Paint / Chrome Finishes: Available January 7th, 2026 |
Leave a reply and join in the discussion
The comments section below every article is a friendly, non-confrontational space where you can air your views without fear of stirring the sort of hornets’ nest that is so often a feature of websites. We welcome your views on the content of our articles, and your opinions on all aspects of photography are a lifeblood for Macfilos. Please let us know, in the section below, if you agree or disagree with our authors’ opinions — and please have no hesitation in adding your advice if you think we’ve overlooked anything important.