Voigtlander Ultron 28mm F/1.9 LTM Lens Review

Voigtlander Ultron 28mm F/1.9 LTM Lens Review

2000 1125 Sroyon Mukherjee

One summer’s day, Goldilocks goes out to gather flowers. The woods are cool and shady, and birdsong fills the air. She ventures deeper than she has ever gone before. Presently she comes upon a clearing, and in the clearing is a little cottage. Too curious for her own good, Goldilocks knocks on the door. No one answers; she knocks again. Still no answer. Goldilocks pushes the door. It opens, and she steps inside.

She sees a great big room with a great big table. On the table is a 35mm interchangeable lens camera, and three lenses. She picks up the first lens, but it is a 28mm and it is too wide. She picks up the second lens, but it is a 50mm and it is too narrow. She picks up the third lens. It is a 35mm and it’s neither too wide, nor too narrow – the perfect compromise.

“The hell with compromise,” says Goldilocks. Putting the 35 back on the table, she walks out into the forest with the 28 and the 50, and makes several beautiful pictures.

The Anti-Goldilocks Principle

You’ve heard of the Goldilocks Principle – the idea that the right balance lies somewhere between the extremes. The idea, of course, is much older; early Buddhist texts used the phrase Majjhimāpaipadā – the Middle Way. I’d like to propose what I call the Anti-Goldilocks Principle.

I’m not saying compromise is a bad thing. When you can only pick one, the middle path may well be the best. But if you can pick two, it often makes sense to skip the compromise option and pick the two on each side.

To be clear, I have nothing against the 35mm focal length. Presented with a 35–50–90, I might pass on the 50mm, and go with the 35 and 90. And it’s not limited to lenses either. Consider film formats. Instead of getting a 645 camera, if your budget permits, you might be better off with a 35mm and a 6×6.

It’s not even limited to photography. I have two types of coffee in my pantry – a cheap variety for daily consumption, and high-quality, expensive coffee for the occasional treat. The in-between option, which some might say is best of both worlds, is in another sense also the worst of both worlds.

At least, that’s my thinking. I may be right or I may be wrong, but hey, at least I walk the talk. In my two main 35mm systems – Minolta (SLR) and Leica (rangefinder) – I have a 28mm and a 50mm lenses, but no 35s.

Version history

My 28mm rangefinder lens is the Voigtländer Ultron 28mm f/1.9. It is an LTM lens, so I use it on my camera – a Leica M3 – with an adaptor. Voigtländer introduced it at Photokina 2000, and at the time, it was the fastest production 28mm lens ever made for any rangefinder mount, surpassed in 2014 by the Leica Summilux 28mm f/1.4 (a bargain at $7,250). The Voigltander Ultron 28mm f/1.9 was discontinued in 2008, replaced by the Ultron 28mm f/2 in M-mount.

The later M-mount version has a different optical design – 10 elements in 8 groups as opposed to the LTM’s 9 elements in 7 groups. It is slightly smaller and lighter than the LTM, and the difference in speed is insignificant (1/7th of a stop). The M-mount version also has a circular lens hood (it’s petal-shaped on the LTM), and a focus tab instead of a screw-in lever.

As for performance – I have no first-hand experience with the M-mount version, but going by forum discussions, some favor the LTM and others the M-mount. This could be down to individual preference or sample variation. Which would I pick? Other things being equal, probably the M-mount version. But when I looked, the LTM was cheaper, so that’s what I got.

Which 28mm?

My Leica M3 came with a Summicron 50mm f/2, which is still my most-used lens. Soon after, I added a Tele-Elmar 135mm (reviewed here), and then started looking for a 28mm lens to complete the line-up. You’ll notice that I skip focal lengths in between – no 35mm and no 90mm. This is the Anti-Goldilocks Principle in action.

I had two main criteria for my 28mm lens. These being a maximum aperture of f/2.8 or faster (because I often shoot in low light or with slow film), and a price of £250 or less. The first one is easy to meet; there is a plethora of fast 28mm lenses from Zeiss, Minolta, Ricoh, Konica, 7Artisans and of course Leica themselves (including the superfast Summilux f/1.4 and the enticingly small Elmarit ASPH f/2.8).

Unfortunately, these were all above my price limit. The only ones which weren’t were the Canon f/2.8 LTM from the 1950s, and the Ultron which I eventually got. Even so, I had to wait several months (and lose several eBay auctions) before I found one within budget.


    • Mount – Leica Thread Mount (LTM) (M39)
    • Focal Length – 28mm
    • Angle of View – 75°
    • Aperture Range – F/1.9 – 22
    • Aperture Blades – 10
    • Lens Construction – 9 elements in 7 groups
    • Close Focus Distance – 0.7 meters
    • Dimensions (L x D) – 63 x 56mm
    • Weight – 265 grams
    • Filter Thread Diameter – 46mm

Look and Feel

In size, the Voigtländer Ultron 28mm f/1.9 sits between the Leica Summicron f/2 and the Summilux f/1.4. I would happily trade one aperture stop for compactness, but the small f/2.8 lenses like the Elmarit ASPH and the Ricoh are many times more expensive.

My copy is black, but there’s also a silver version (see Ken Rockwell’s review). With (admittedly heavy) use, some of the black paint has rubbed off, revealing brass-coloured metal below. I don’t mind this, and some people positively like the “brassing” – though one reviewer says it’s probably not brass but anodized aluminum.

In any case, it’s an all-metal body and feels very well made. The aperture ring is knurled, with precise half-stop clicks (except between f/16 and f/22). The focus ring is scalloped and turns in a smooth, well-damped fashion with no hint of play. The focus throw is just over 90°. I’ve recently felt a hint of stiffness near the infinity end, but not enough (yet) that I want to disassemble and lubricate it.

The Ultron’s minimum focus distance is 0.7m. The Leica M3 only focuses down to 1m (subsequent models focus down to 0.7m), so between 0.7 and 1m, I use scale focusing. This is not hard; I know that if the subject is an arm’s length away the distance is 0.7m. The photo below was taken at the minimum focus distance.


The Ultron 28mm f/1.9 came with a removable metal hood with crinkle-finish. The hood is petal-shaped, so I have to make sure it’s correctly oriented so as not to obstruct the lens (wider petal on top). The hood has a small screw for cinch-friction coupling, which I’m not a fan of – it tends to catch on straps and other things. The hood must be taken off to attach or remove a filter.

Originally, the lens also came with a felt-lined, friction-fit metal cap, and a small screw-in focus lever. My used copy did not have either of these. Robert White in the UK can supply both the lens cap and focus lever – I emailed them to ask, but I ended up not getting either. Instead, I bought an aftermarket centre-pinch cap – it’s not as nice-looking as the original cap, but it can be used without the hood (whereas the original cap fit over the hood). And I make do without the focus lever; I like focus tabs, but I’m not sure I would get on with the lever.

Framelines and finder blockage

The Leica M3 doesn’t have 28mm framelines, so I use the Ultron with an external viewfinder. I generally focus through the viewfinder on the camera, then switch to the external viewfinder for framing. Sometimes, especially at smaller apertures, I just scale focus – not hard with a wide-angle lens. At f/8, depth of field extends from 1.8m to infinity.

I’ve gotten used to the external finder, but it’s clearly not as straightforward as focusing and framing through the same finder. This is something to bear in mind if you use a Leica M body older than the M4-P (1981), which introduced 28mm framelines.

Regardless of what camera you use, the Ultron protrudes into the viewfinder – more so with the hood, but also without. It even appears in the external viewfinder, though in this case, only when the hood is on. A little finder blockage doesn’t bother me, but for some people it can be a deal breaker.

Optical quality

The Ultron 28mm f/1.9 has 9 elements in 7 groups including one aspherical element. (I rendered the lens diagram based on technical literature; it is a close approximation, but not 100% accurate.)

Now before talking about optical quality, I should say that while I’ve taken lots of “real world” photos with the Ultron, I haven’t rigorously tested it. And I use it exclusively on my Leica M3, so I don’t know how it plays with digital sensors. Finally, I have not used or compared it with any other 28mm lens for the Leica system. So this is more of a “user perspective” rather than a technical review.

That said, the lens is plenty sharp for my needs. In the first photo below, it resolved the thinnest struts on the gasholder in the background, and in the second, in a good enlargement, you can practically count the blades of grass.

If you want a more technical assessment, Erwin Puts claims that the lens is optimal at f/4, and a little soft at full aperture, especially in the corners. In Puts’ tests, the Summicron f/2 outperforms the Ultron at wider apertures (no surprise there!) but “stopped down it is a draw.” He also notes (and this means something coming from a Leica expert like Puts), “To get some perspective: an older 28mm lens from Leica is blown to pieces by the Ultron.”

Distortion, vignetting and bokeh

The Ultron doesn’t have noticeable distortion (I added a reference line in the concert photo), nor vignetting (the photo of the tea-seller was shot wide open at f/1.9).

It is, however, prone to flare even with the hood attached. I don’t mind this on black and white film; sometimes I think it even adds to the picture. But on colour film it produces blue ghosts, which I’m personally not a fan of.

Few people buy 28mm lenses for bokeh, but I actually find the Ultron’s bokeh quite pleasing. As you’d expect, it’s most noticeable up close and wide open, as in the photo of the snaps bottles. The portrait, on the other hand, was at f/4, but I still got good subject separation and, thanks to the 10 aperture blades, well-rounded out-of-focus highlights.

Using a 28mm lens

My primary lens for 35mm cameras has always been a nifty-fifty. Most people add a wider lens for landscapes, but I first wanted one after seeing Garry Winogrand’s street photography, most of which was made with a 28mm lens.

A wide lens is especially useful on the streets of my hometown, Kolkata. In a crowded market or a narrow lane, there’s often not enough room to back up. And even if you can, the constant stream of passers-by makes it hard to get a clear shot. At least, that was the case in pre-pandemic times.

Even in less crowded European cities, I like the 28mm focal length for streetscapes. It’s not without its challenges, though. With a 75° angle of view, you can end up with too many elements in the frame, but I try to compose and time the shot so that they come together in a harmonious way (not that I always succeed).

Another compositional challenge with wide-angle lenses is dealing with “dead space”, especially in the foreground. I try to mitigate this by including foreground elements of interest (like the pool of water) or leading lines (the staircase).

And of course, I use it for environmental portraits – of humans, animals and, in the last photo, a human with an animal mask.

The Ultron’s maximum aperture of f/1.9 combined with the fact that wider lenses can be handheld at slower shutter speeds without risk of motion blur makes it ideal for low-light and indoor photography. The photos below were all handheld – the black-and-white ones were on Kodak Tri-X 400 at box speed, and the one of my friend cooking was on Ektar 100!

Final thoughts

I began this review by introducing the Anti-Goldilocks Principle to justify why I use a 28 and a 50, eschewing the classic 35mm focal length. But for the 28mm focal length specifically, I wanted one lens – not an assortment for different use cases. And as I say, if you have to pick one, the compromise option – the original Goldilocks choice – may well be the best.

The Voigtländer Ultron 28mm f/1.9 is not as fast as the Summilux f/1.4, nor as sharp as the Summicron f/2. Several other lenses are smaller, and the Canon f/2.8 sometimes sells for less than what I paid for my Ultron. But the Ultron has a unique set of attributes – a fast, well-constructed, relatively inexpensive lens with excellent optical performance – all of which combine to make it the “right” choice for me. I guess it is a Goldilocks lens after all.

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Sroyon Mukherjee

Sroyon is an amateur photographer who likes making images with pinhole cameras, smartphones and everything in between. He also enjoys working on collaborative projects, alternative processes, and developing and printing in the darkroom.

All stories by:Sroyon Mukherjee
  • Shubroto Bhattacharjee November 9, 2020 at 4:29 am

    An enjoyable, detailed writeup, Sroyon, accompanied by fascinating illustrations of your evaluations. Thank you!
    Cosina, the makers of today’s Voigtlander gear, are among the few Japanese manufacturers with their own glassworks. Affordable and excellent can co-exist, clearly.

  • First – some really nice photos there. I really like the atmosphere of the Indian shot with the boxes under the awning.

    Also – 100% agree with the wide + 50mm philosophy. I probably prefer 24mm for landscape or “empty” urban scenes, if enough interest can be built into the foreground and there isn’t too much other clutter. But 28mm is still effective, and maybe more useful in general where clutter is difficult enough to manage anyway. Plus, for anything like sensible enlargements with slow-ish film, 28mm can be cropped to ~35mm.

    The main issue I have is that 28mm on a Leica feels like a fudge. No way could I see 28mm lines in a 0.72 finder (left-eyed, deep eye sockets), and 50mm lines in a 0.58 finder are no fun. And an external finder just gets bulky and clumsy to use. So I do tend to leave wider-than-35mm to SLR duties, which is a shame as I vastly prefer rangefinder handling and focussing.

  • Thank you! I had a 25mm (which is of course very similar to 24mm) but somehow I can’t work with that focal length. A lot of people love it though, and use it to great effect. I was initially on the fence about getting a lens which needs an external finder, but I don’t mind it. My external finder is even brighter than the M3 finder, which is saying something. And I like the rangefinder/wide-lens combination, you can get relatively close to people without being obtrusive.

  • Arthur Gottschalk November 9, 2020 at 2:45 pm

    Sroyon thanks for this. Just the lens I’ve been thinking about buying. I note that famed Indian photographer Raghubir Singh primarily used a 28mm lens. And BTW, I love Kolkata and will be traveling there when the pandemic passes.

    • Thanks Arthur, that’s fortuitous timing then with this review! I love Kolkata too, but I’m obviously biased. I hope you enjoy your next visit! I don’t know where I’ll be, but feel free to drop me a line if you have time for coffee 🙂

    • Right Raghubir Singh (1942–1999) was a pioneer of color street photography, a fantastic photography who has helped to discover great India.

  • Sroyon and Casualphotophile.com : Bravo and thanks.
    Sroyon one more great article. I am actually looking for a new 28 mm, thanks to add this one into my consideration.
    One more time, well done and very interesting.
    Also casualphotophile.com is a great web site because we can type comments for all articles without censorship.
    I thank you one time Sroyon for your sharings and work.
    Thank you.
    I will read it again later, and longer, but first eyes make me happy.

    • Thank you Eric, much appreciated!

      • Welcome Sroyon.
        The Great India, The Great Kolkata, the Great Bengal with an Ultron : perfect results.
        Middle way 😉 …
        बुद्ध के महान सिद्धांतों में से एक है कि मैं हर दिन संचारित करने की कोशिश करता हूं
        28 mm is a great choice reason I am looking for one for my M3 too.
        I have some : I have the Nikon 28 TI, which is a marvelous camera, especially for cities if we know how to use it, and a Nikkor Ais 28mm/2’8 about which there is no comment, maybe the best. But when we want to go to RF cameras, it is not the same. Despite the Middle Way is one of the things I have to apply, sometimes, we have to find solutions, I am 50mm, and I use to do : 15mm, 40/50mm, 90mm for Rf as you know. But the 35mm has never pleased me. 24/25mm and wider are really wide, so the 28mm since to be for me the perfect wide angle, more than 35mm, reason why all top point and shoot cameras was 28mm, only the T3 was not with the 35TI, but Nikon made a 28TI black (more pro 😉 ).
        In my actual research, to pair the lens with a Leica IIIa, I should prefer a LTM, so this lens could be the one, but you say right, find one at a good price is not easy when we speak about the one you show here, not the last one 😉 which is more expensive.
        According to your results in courant photography with close composition which I believe is one of the best, it seems to be better than Canon, Ricoh and Konica, and Nikon. Thank you so much.

  • Really nice photos, a pleasure to look at.

  • I actually have the ricoh 28mm gr f2.8 ltm lens that I have an m mount adapter on to use with my m3 and m6 but honestly I have only gotten a few images I have absolutely loved from it. Its a great lens but a few things bother me about it. It vignettes really badly on my copy and I don’t think it is a true f2.8. it seems to be more like a f3.5. I have not tested this but it seems that way. Also I hate the screw on lens hood for the Ricoh. as far as voigtlander goes I have had a couple of wonderful lenses from them. I have had the 50mm f1.1 – admittatly a very soft until you get to f2.8. I have also owned the 35 color skopar and I own the 35mm Nokton f1.4 II (its a recent purchase and I am still learning that lens) I have been thinking about moving to either the voigtlander you reviewd here or the newer version or maybe an older leica 28mm m. This article really helps! also I have been trying to find one of those 28mm plastic finders! mine has kinda fogged out…

  • Thanks for the Ricoh mini-review! I suspected that the Ricoh has a vignette problem from some other photo samples I saw online, so your comment gives further confirmation. If the aperture issue is true, that’s a shame. I wish Ricoh made the lens in larger numbers; currently it sells for “collector prices”, so I find it hard/impossible to justify as a purchase, especially given the aforementioned concerns around quality.

    I got the Leitz finder for around £60 on eBay, but like with the lens, it was after months of waiting for a good deal. I’m very happy with it. I had the 25mm Voigtländer finder (came with my Snapshot Skopar 25/4), and that was a good one too, so I’m guessing their 28mm finder will be equally good. But the Voigtländer finders are rounded, and I find the squarer shape of the Leitz finder compliments the M3 well. The Leitz SLOOZ and SUOOQ finders are even nicer, but expensive and hard to find in good condition. And finally I’ve briefly tried the Zeiss 25-28 finder, excellent optics but rather big.

    • Yeah the build quality of the ricoh is on par with Leica (compared to the few Leica lenses I own) and has good feel when in use but the results are not blowing me away. as for the collector prices, I purchased mine with box and a finder from Leica store SF for around 800$ effectively the top of my budget at the time. They are going for way to much money now though. I actually have the slooz finder now but wanted to get one of the plastic ones to try out. I must admit the slooz 28 finder is nice but I effectively already ruined it and it was mint when I purchased it. I was out shooting on a hot summer day and sweat from my shirt I believe somehow got inside the finder… now it has some nice haze its a real shame.

  • Really nice review, Sroyon! And most of all, stunning photos. You’re making me want to get this lens.

    • Thanks Drew, much appreciated! Your article about Ara Güler made me want to get a 20/21mm lens – and I did end up getting one, though not for the Leica system. I hope to review it one day on these pages 🙂

      • Zeiss Biogon-C ZM 21/4.5, one more great product from Cosina. Have a look from Ken review, from my old memory “(…) art lens (…)”, I had one, I have sold, this was stupid to sell it, this is a great lens.

  • Nice review and photos. I have one of these lenses that I bought new back when they were current, but seldom use it because I hate accessory viewfinders so much (although it does get an occasional outing on the Epson R-D1, which has a frameline for it.) I can assure you that you’re not missing anything by not having that weird little screw-in focusing stick, which isn’t useful for much of anything except getting snagged on the inside of a camera bag!

    Side comment: sometime could you publish something explaining how you get your through-the-viewfinder photos? I’ve often tried to do this, but my photos never look anything like what I actually see, whereas yours look very realistic.

    • Thanks JL, I suspected as much, about the focus lever. The only thing which bothers me (only slightly) is that without it, the lens has an empty screw-hole. For viewfinder photos, I just stick my phone camera close to viewfinder. Hold the camera steady with one hand, and push the phone right up against the finder so that it’s parallel to the camera. I use a Google Pixel 2 which is quite outdated, but it still takes good photos. I’m also into astronomy, and I got the idea from seeing astronomers put their phones against the eyepiece and capture some really good images of celestial objects.

      • Thanks for the viewfinder photo tip… I tried with my iPhone 5S and got great results. Funny I had never thought of trying a phone! Re the empty screw hole, how about finding a small round-head machine screw that fits and using that to plug it? It looks to me as if an M2 screw would be about right, but that’s just a guess.

        • This nice older man at Aperture in London gave me a screw of the right size (for free! just because I told him it bothered me) but I appear to have lost it 🤦‍♂️ Maybe I should look for another one…

  • There are some reviews we read again, again, and again like your, the next one about accessories also.
    By the way I can only follow you on this website, so sorry if you do not see comments from me, I will miss your reviews, but I do not return on this website.
    This is the reason why I thank all the best major great websites which leave all the “reply” like of course casualphotophile.
    We will meet here.
    By the way now you are like one of the writers of Casualphotophile.
    And your reviews are great. This one shows me that it is good to take time before buying a lens.
    This is well made.
    Thnak again.

  • You’re not alone in the “anti-goldilocks” sentiment; the concept also goes by the name “Hi-Lo mix”

  • Hi Sroyon,
    Well written and argued piece, accompanied by some great shots – you have a good eye. I must say the review did not make me want to buy the lens (I’ll stick with my Contax slr kit) but it certainly made me want to see Kolkata again! Great city. The “yellow” shot of the boys by the Ambassador looks rather familiar… has it been posted somewhere online before?
    All the best, Steve.

  • I’ve read several reviews on this lens and it has a lot of negative attributes according to the reviewers . I see some of them also . But just going by many of the pictures posted by all the reviewers I see awesome 3-d pop throughout these photos . For all its flaws there is great shape to everything within the photos . The images are not flat at all.
    I read two different reviews saying the land has no microcontrast. Well then why foot render with great shaping and roundness to mot just the infocus subjects but everything in the photos and have great oof bokeh areas . I really like the rendering of this old lens . It’s not super old but old enough and discontinued.
    I’m looking for a used one now .

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Sroyon Mukherjee

Sroyon is an amateur photographer who likes making images with pinhole cameras, smartphones and everything in between. He also enjoys working on collaborative projects, alternative processes, and developing and printing in the darkroom.

All stories by:Sroyon Mukherjee