Leica Super-Colorplan-P2 90/2.5

Black metal barrel 35mm slide projector lens for late-model Pradovit P150-600 series. Upgraded version of Leica ColorPlan-P2. [Cat. 37 514]. Awarded 5+/5 for image quality by Chasseur d’Images magazine.

Weight 176 g
Dimensions 90 mm
Focal Length (mm)

Max Aperture (f)

Aperture Blades


Sharp (Near)

Sharp (Far)

Rear Mount


  1. 16:9

    The best of the sub-100mm Leica projector lenses, and proof that Portugal was capable of delivering the same standard of excellence as German Colorplan production. It was very expensive new but now is just another unwanted relic. For a modern taking lens, the sharpness isn’t remarkable – but for a slide projector optic, it’s excellent – a member of an elite club earning a Silver award with averaged gradings in excess of 82%. It’s the second sharpest lens of its type in Zone A, and the best resolving in Zone C. It doesn’t appear to be apochromatic, but as far as projector lenses go, chromatic aberration control is very good – though not quite as blameless as (for instance) the Reflecta Agomar 90/2.4 MC.

    The rendition, however, is special – then, now and always. Saturation is superb; contrast is on the natural side of middling and bokeh is gracefully smooth: rendering specular highlights as impressionistic smudges, and suffering from relatively little mechanical vignetting or peripheral swirl. The 42mm barrel makes for easy adaptation and the deep integral hood gives good protection against flare. Front element coatings have a full-spectrum hue, and differ from rear element coatings which are yellow/purple.

    This is an end-game projector lens, performing equally well at distance and close up, and though I wouldn’t rely on it at mags higher than 2:1, the images it makes are joyous. In some respects it’s not as good (as a taking or slide projector lens) as the Rollei AV-Apogon 90/2.4 – the pair jointly crowned ‘King of the PJs’ – but its balance of virtues makes this the one to have.

    The gallery includes one image taken with the Fujifilm GFX100, which more than any other platform shows off what this lens can do. There is a trace of vignetting present – in which regard it is inferior to its Av-Apogon nemesis. And on the larger format, the resolution gap is more clearly demonstrated in the Rollei’s favour. However, the silky smooth nature of the Super-Colorplan’s bokeh and the very Leica transitions are given space to breathe on the bigger sensor and create something special. If there’s any truth to the urban myth about lenses with ‘magic’, this has it.

    Even in 2022, market ignorance still throws them up for sale for less than £100: an absurdly inexpensive admission price to obtain not only Leica’s finest moment in this arena, but arguably the ultimate slide projector lens full stop. But see also the Rollei AV-Apogon 90/2.4 review.

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