E. Ludwig E. Ludwig 50mm f2.8 Heritage

Overview

The E. Ludwig Meritar 50mm was produced in East Germany by Ernst Ludwig between 1949 and 1968, marketed as an affordable, entry-level lens often bundled with Exa/Exakta bodies. It uses a Cooke Triplet optical formula (3 elements in 3 groups), a 19th-century design dating back to simpler optics that emphasizes distinctive rendering. Reviewers repeatedly note it shares this same triplet formula with the famed (and far pricier) Meyer-Optik Trioplan 100mm F2.8, which is often cited as the source of its character. The lens has a cult following among vintage lens shooters and filmmakers for its organic, film-like imperfections rather than technical excellence. One reviewer directly compares its character to the 'legendary Helios 44-2 58mm F2,' saying any lens similar to it is 'pretty magical.' Note: the reviews cover the f/2.9 version; specifics on an f/2.8 variant are unknown. No established nicknames are evidenced in the reviews. Some versions are marked with a red 'V' to indicate single coating.

Verdict: The E. Ludwig Meritar 50mm is a cheap, compact, character-first triplet lens for photographers and filmmakers who value organic, film-like imperfection over technical perfection. It won't be your main or even second 'sharp' 50mm, but for the right creative project it delivers colorful rainbow flares, smooth slightly-swirly bokeh, and diffused colors at a bargain price. Ideal for BMPCC/Super 35 shooters seeking a vintage look, especially paired with a Speedbooster.

Optical Character

Bokeh

Smooth and beautiful, described as slightly swirly wide open.

Color

Diffused, muted colors compared to strongly multi-coated lenses, well-suited to color grading in post.

Sharpness wide open

Center sharpness quite good wide open per one reviewer but overall soft; sharpens noticeably stopped down to F4-F8 with soft edges/corners.

Flare resistance

Loses contrast toward the sun and produces colorful rainbow-like flares, considered a desirable artistic trait.

Contrast

Low contrast wide open at f/2.9, improving noticeably when stopped down to f/5.6-f/8.

Community Insights

What people love

Abundant vintage character and organic, film-like rendering that softens the 'digital bite' of modern sensors
Colorful, rainbow-like flares reminiscent of the Helios 44-2
Smooth, slightly swirly bokeh, especially wide open
Diffused colors that are great for color grading in post
Compact and lightweight size, ideal as a fun holiday/day-out lens
Click-less (preset/de-clicked) aperture that filmmakers appreciate
Extremely affordable price
Pairs magically with a Speedbooster/MetaBones on a BMPCC for the extra stop and focal boost

What people dislike

Very slow for a 50mm at f/2.9
Soft edges and weak corner sharpness (though many see this as a feature)
Weak chromatic aberration control
Tiny focus ring and closely spaced focus/aperture rings make handling fiddly, and its small size is impractical on professional shoots
Focusing direction is opposite to Zeiss/Canon-style lenses (same as Nikon/Pentax), which can be disorienting
Small 35/35.5mm filter thread requiring a step-up ring
Sample variation is common due to its budget origins

Pro Tips

Shoot wide open at f/2.9 for maximum dreamy, low-contrast character; stop down to F4-F8 to sharpen up
Point it toward the sun to exploit its colorful rainbow flares
Use a MetaBones Speedbooster on a Blackmagic Pocket/Super 35 sensor to gain a stop and a wider field
Take advantage of the click-less preset aperture for smooth exposure pulls in video
Buy the M42 version for easy adaptation to modern mounts
Use a step-up ring to fit standard filters over the tiny 35mm thread
Lean into the soft edges as part of the vintage aesthetic rather than fighting them

Sources (1)

Web-grounded synthesissecondary

The E. Ludwig Meritar 50mm was produced in East Germany by Ernst Ludwig between 1949 and 1968, marketed as an affordable, entry-level lens often bundled with Exa/Exakta bodies. It uses a Cooke Triplet optical formula (3 elements in 3 groups), a 19th-century design dating back to simpler optics that emphasizes distinctive rendering. Reviewers repeatedly note it shares this same triplet formula with the famed (and far pricier) Meyer-Optik Trioplan 100mm F2.8, which is often cited as the source of its character. The lens has a cult following among vintage lens shooters and filmmakers for its organic, film-like imperfections rather than technical excellence. One reviewer directly compares its character to the 'legendary Helios 44-2 58mm F2,' saying any lens similar to it is 'pretty magical.' Note: the reviews cover the f/2.9 version; specifics on an f/2.8 variant are unknown. No established nicknames are evidenced in the reviews. Some versions are marked with a red 'V' to indicate single coating.

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