A Modern Classic: My First Thoughts on the Voigtländer 50mm F1.2 Nokton II

When I last wrote about the Summilux-M 50 mm f/1.4, it wasn’t the glowing love letter I’d hoped. My copy simply wouldn’t consistently nail focus and, after a long round of testing and a refund, I had to accept that one of Leica’s most celebrated 50s just wasn’t the right fit for me. Still, I wasn’t ready to give up on a fast 50 — I wanted the speed and character, just without the headaches.

Enter the Voigtländer 50 mm f/1.2 Nokton II. On paper it felt like a compromise; in practice it has become exactly what I wanted: a lens that looks great on my camera, renders images the way I want, and gets me shooting more. How it feels on the camera

Just fantastic — a black lens on a black body (M11D) just works. Build quality is solid: it feels well-made and substantial without being heavy. A good balance on the M11D and comfortable for handheld shooting.

M11D + Voigtländer 50/1.2 — black on black.

The filter that made it click

I paired the lens with a Tiffen Black Pro-Mist (1) filter, and that combo has been borderline addictive. The filter adds a gentle haze and glow in direct sunlight while the M11D’s 60-megapixel sensor keeps plenty of detail. Creating images that feel like genuine vintage film era rather than a Photoshop/Lightroom “film preset.” Since I started shooting with this lens + camera + filter combo, my images have adopted a vintage aesthetic I’ve always wanted — without faking it.

Shot at f/1.2 — soft, filmic rendering.

Real-world shooting and what I love

• Portraits: the soft wide-open look is flattering and filmic.

• Street & daylight work: the lens has a great amount of detail, and the muted palette makes highlights and shadows feel organic.

• Low light: at f/1.2 you get subject isolation and a moodiness that encourages you to just keep shooting.

Ultimately, this lens fits the creative direction I keep coming back to: vintage film character, not just technically “perfect” pixels.

Short comparison: Voigtländer vs the Summilux

I’m not knocking the Summilux in general — it’s a wonderful piece of engineering for many shooters — but my copy failed on one critical point: consistent focus. The Voigtländer, is the lens the Summilux should of been, Its lighter, comes in black and preforms way beyond its price point. The only aspects I miss is the Leica badge, the contrast and saturation Leica is known for. However If you want filmic rendering, tactile softness, and a lens that makes you want to shoot, the Voigtländer is a very compelling and much more affordable choice.

Verdict / Who this is for

If you’re chasing vintage film vibes without post production tricks, and you value a lens that inspires you to shoot, the Voigtländer 50 mm f/1.2 Nokton II is exactly that kind of tool. It’s well built, sits beautifully on the Leica M11D, and paired with a softening filter like the Pro-Mist—it delivers the look I’ve been trying to chase for years.