It can work... under certain circumstances.

The Leica Summilux-M 50/1.4 ASPH. and Summilux-M 35/1.4 ASPH FLE do work more or less. Portraits "on-the-fly" really can come out well. Or let's say, they turn out better than i had expected. However, I would only recommend them (if you already have those lenses), under following conditions:

• at relative closer range (portrait range)
• Only in black & white
• with murky darkish backgrounds present
• especially with the (hard vignetting) Noctilux 50/1, murky backgrounds is "a must", or you use a different format such as 1x1 (6x6) or similar, which cuts off the [dark/black] corners.

I wouldn't want to use any lens at infinity, nor in color (due to darker corners as well greenish color tint - sometimes also blue in the extreme corners, dependent on what 35mm lens you use. The sensor in the Fuji GFX 50 series is of the kind with stronger cross-talking, while the 102 MP sensor, back-lit illuminated, has less cross talk, and therefore supposedly shows less color tints and/or dark corners when using 35mm lenses on that physically larger 33x44 mm sensor.

Leica Summilux-M 50/1.4 ASPH on Fujifilm GFX 50s II


Zeiss Planar T* ZM 50/2 on Fujifilm GFX 50s II


Leica Noctilux-M 50/1 on Fujifilm GFX 50s II


No elegance: Handling Leica M lenses on Fuji GFX

I absolutely do not like the clumsy handling of the Leica M lenses (and most other 35mm lenses) on a Fuji GFX 50s II camera.

It feels... choppy, weird and not intuitive at all. Partially also because of the Fuji GFX camera itself, the way Fuji implemented how you change settings.... not intuitive at all.

Kind of roundabout and clunky.

The Fujifilm GFX 50s II isn't a fast camera. Things are a bit choppy due to the old sensor architecture which sets a limit to what the camera hardware can do / can't do.

The Leica M are best on a Leica M - it is really that simple. There, you can truly concentrate on the image, the content - the person !! because everything feels intuitive.

Additionally; I do like the Summilux-M 50/1.4 ASPH and the Noctilux-M 50/1 on a Canon EOS R6 camera, was well on Sony A7s. A lovely combination for black & white portraits. Other motives I do not shoot, when using Leica lenses mounted on Canon R cameras.


Surprised, though

Yet, I was still quite surprised that a Leica Summilux-M 50/1.4 ASPH even would work at all with the larger Fuji GFX sensor. Naturally, the focal length gets a bit wider (equivalent to a 40 mm lens on a fullframe camera), when calculated with the 0.79x factor.

While the Summilux 35/1.4 on the Fuji GFX turns into a 27 mm lens.


The Noctilux 50/1

hard vignettes a lot - so there, only portraits against a dark-murky background can cover those black corners more gracefully. Again, I would only use this for Black & White portrait images.

In the deeper shadows, you can see that the Noctilux-M 50/1 is hiding is a hard vignetting (taken without lens hood).


Leica Noctilux-M 50/1 on Fujifilm GFX 50s II


The Zeiss Planar T* ZM 50mm f 2 lens

another lens made for Leica M mount cameras - works in a similar ways on the Fuji GFX; at portrait distances with very little dark corners. (I didn't test it at infinity. And frankly it doesn't interest me either). For me such lenses are good for portraits, because some of them have a special character. Everything else just feels clunky and very amateurish.

Not worth my time. (Albeit supposedly there are a few exceptions, in which 35mm lenses cover the entire Fuji sensor. I have to think of Sigma ART 135mm f 1.8 for example).


I wouldn't bother

with 35mm lenses on a Fuji GFX camera. Their darkish corners, corner smearing, corner color tint etc. Those lenses were never made for a larger than 24x36mm sensor. Fuji GF lenses are simply best in that regard - and do give you the feeling that you are actually using a medium format camera ! Don't waste that good quality on the more or less mediocre performance from 35mm lenses.

Some other medium format lenses, also work well (a few are regarded to produce very high quality). With them - you don't have to battle with dark corners, because their image circle is larger than the size of the Fuji GFX sensor.

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