MS Optics ISM 50mm f1.0 M Mount – A Baroque Creamy Lens

MS Optics ISM 50mm f1.0 M Mount - A Baroque Creamy Lens

Lens Review

MS Optics ISM 50mm f1.0 M Mount – A Baroque Creamy Lens

First time I heard about this MS Optics 50/1.0 M Mount lens was from an announcement in JCH’s post. The article was about Miyazaki san designing an ultra-fast f1.0 lens mentioned this 50mm is super compact equipped with thin and light high power glasses and I immediately got hooked on it. I once had an MS Optics Perar 35mm f3.5 II, even today I still miss this lens and always wanted to get it again. It is a very compact lens that has a special hue from Japanese made glass, especially on Leica M9. 

Alright back to this 50mm f1.0 lens, I tried to look for sample photos on this new MS Optics 50mm f1.0 ISM, unfortunately, there are only a few samples on the internet about this lens but it made me wonder what is the difference between this and the Noctilux / Canon f0.95?

Front - MS Optics 50mm f/1.0 ISM
Leica M9P

MS Optics 50mm f/1.0 ISM

It is weighted at 400g available in multiple finishings such as black chrome, black paint and silver. My favourite was the black paint version, aesthetically with the green purple lens coating on it just to make it look super handsome. Some details about the lens

Close up
  • 7 elements in 5 groups Gauss type
  • f1.05, 51.5mm with 10 full multi-coat surfaces
  • Minimum focusing at 0.8m
  • 16 rounded aperture blades producing extra round bokeh
  • Filter size 55mm
  • Hood is using male to female adapter reverse adoption
  • Diameter of 50mm
  • 67mm filter if you want to attach on the hood

Lens Performance

Strong flare at full aperture results in lower contrast but sharpness and resolution is very high. Once you stop down the lens to f1.4 closing down to f2 all flare is gone. At f1.0, spherical aberration (glow) and coma was strong and it reminds me of Leica Summilux 35/1.4 pre-asph (version 2) and Canon 50mm f0.95 at wide open. Vignette was strong from f1.0 to f2.8 but it has the best vignette at f5.6 but resulted in a slight dark corner at f8.0. When I refer to phillireeve’s review, I found the same thing happened at f8.0. Maybe Miyazaki san didnt design the lens with an image circle that is big enough to cover the whole full frame sensor.

Leica M9P
Leica M9P
Leica M9P
Leica M9P

My Only Complaint - Vignette

Same as above mentioned, vignette does not get better even when you stop down the lens at infinity. F11 is probably the worst. Since it is a block focusing mechanism, the vignette is less obvious when you are focusing closer to the subject.

Leica M9P
Kodak Ultramax 400 @f1.0
Kodak Ultramax 400 @f5.6
Kodak Ultramax 400 @f1.0

Baroque Creamy Character

To answer those who are interested in getting this lens, if you like Baroque painting such as  Rembrandt which has dramatic contrast with super strong character like Canon 50mm f0.95, Canon 50mm f1.2 LTM and wild figure like Summilux 35/1.4 pre-asph that bokeh is not clean but they can bring you interesting “effects”.

Kodak Ultramax 400 @f5.6
Kodak Ultramax 400 @f1.0
Leica M9P
Leica M9P

More images with Leica M9P

Leica M9P
Leica M9P
Leica M9P
Leica M9P
Leica M9P

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