10th Anniversary 2012-2022
More than just a camera lens database

Leica Summicron-M 28mm F/2 ASPH. “Drifter”

Wide-angle prime lens • Digital era • Discontinued

Abbreviations

ASPH. The lens incorporates aspherical elements.

Model history

Leica Summicron-M 28mm F/2 ASPH. Matte black paintM9 - 60.7mE46 2022 
Leica Summicron-M 28mm F/2 ASPH. SafariM9 - 60.7mE46 2020 
Leica Summicron-M 28mm F/2 ASPH. “Drifter”M9 - 60.7mE46 2019 
Leica Summicron-M 28mm F/2 ASPH. TitaniumM9 - 60.7mE46 2016 
Leica Summicron-M 28mm F/2 ASPH. for M-P “Panda Edition”M9 - 60.7mE46 2016 
Leica Summicron-M 28mm F/2 ASPH. [II]M9 - 60.7mE46 2016 
Leica Summicron-M 28mm F/2 ASPH. “Meisterstück”M9 - 60.7mE46 2012 
Leica Summicron-M 28mm F/2 ASPH. “Edition Hermès – Série Limitée Jean-Louis Dumas”M9 - 60.7mE46 2012 
Leica Summicron-M 28mm F/2 ASPH. SilverM9 - 60.7mE46
Leica Summicron-M 28mm F/2 ASPH. Titanium “50 Jahre M-System”M9 - 60.7mE46 2004 
Leica Summicron-M 28mm F/2 ASPH. [I]M9 - 60.7mE46 2000 

Features highlight

Fast
1 ASPH
Manual
10 blades
MF
Built-in hood

Specification

Production details
Announced:May 2019
Production status: Discontinued
Production type:Small-batch production
Original name:LEICA SUMMICRON-M 1:2/28 ASPH.
System: Leica M (1954)
Optical design
Focal length:28mm
Speed:F/2
Maximum format:35mm full frame
Mount and Flange focal distance:Leica M [27.8mm]
Diagonal angle of view:75.4° (35mm full frame)
60.3° (Leica M APS-H)
Lens construction:9 elements - 6 groups
1 ASPH
Diaphragm mechanism
Diaphragm type:Manual
Number of blades:10
Focusing
Coupled to the rangefinder:Yes
Closest focusing distance:0.7m (coupled focusing)
Maximum magnification ratio:1:21.9 at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing tab
Physical characteristics
Weight:<No information>
Maximum diameter x Length:<No information>
Weather sealing:-
AquaDura coating:-
Accessories
Filters:Screw-type 46mm
Lens hood:Built-in telescopic round

*) Source of data: Scarce manufacturer's technical data + own research.

**) Some basic information is missing in the specification as it was not provided by the manufacturer.

Manufacturer description #1

One for the road: new limited-edition Leica M Monochrom ‘Drifter’ is Lenny Kravitz’s ode to touring

Leica Camera AG and Kravitz Design have collaborated on a camera built for rock n’ roll nomads who can be found on either side of the lens. The look of the Leica M Monochrom ‘Drifter’ has been created by Grammy-winning musician, actor and artist Lenny Kravitz, who is no stranger to bold style and individual expression. The result is an attention-commanding and soulful Leica camera made for global touring. The name is inspired by how Kravitz sees himself, “I’m a drifter. That has been my life since I was 15-years-old; I’m always on the road.”

This limited edition camera is designed with an eye-catching ‘synthetic python’ snakeskin covering, made from premium-quality vegan leather which looks straight out of the rockstar’s wardrobe. Kravitz was made aware of this synthetic material by his close friend, fashion designer and animal rights activist Stella McCartney, who uses it for many of her own creations. The matching carrying strap made of woven fabric is coated with the same vegan leather as the camera. The camera’s monochrom body is luxuriously retro in special sepia brown paint, and the hotshoe, thumb wheel, shutter and soft-release buttons are made from untreated brass, which will allow a stylish vintage look to develop over time.

Two state-of-the-art lenses are included, both finished in sepia brown; a Leica Summicron-M 28mm f/2 ASPH, and an APO-Summicron-M 75mm f/2 ASPH. In a departure from the standard production model, the Summicron-M 28mm f/2 features a built-in extendable lens hood to match the design of its 75mm counterpart.

This camera demands five-star accommodation; a smart brown leather-like ‘Drifter Traveller’ bag, two pouches and cases for both lenses are included, so your kit is always protected.

Lenny Kravitz was born in Brooklyn, New York in 1964 to an Afro-American mother and a Ukrainian-Jewish father. He is not only a world-famous musician, songwriter, producer and actor but also an accomplished photographer. As a musician, Kravitz is a multi-instrumentalist who uses analogue recording technology to underline the retro-character of his songs. As a visual artist, he has enjoyed success with his design studio, Kravitz Design, and has also become an accomplished photographer publishing ‘Flash’, a book of his black-and-white photographs in 2015. “I love the quality of the Leica’s monochrom system’ says Kravitz, “it’s exquisite. I tend to see things in black-and-white. It looks more real to me, and timeless.”

This is the second time Lenny and his design team have collaborated with Leica on a limited-edition masterpiece. In 2015, he was inspired by the life of his father, a Vietnam War reporter and TV news producer, to create the ‘Correspondent’, a vintage-look Leica M-P. This time, Lenny has looked within himself and authored a design which reflects the lifestyle of a cosmopolitan artist and travelling musician stopping to capture his or her unique experiences.

With production limited to 125 units globally, the Leica M Monochrom ‘Drifter’ is incredibly exclusive and highly collectable; RRP is £20,500.

Manufacturer description #2

Leica M Monochrom “Drifter” by Kravitz Design

Leica Camera is proud to announce the latest special edition camera and second collaboration with world-renowned musician, designer and photographer Lenny Kravitz – the Leica M Monochrom “Drifter” by Kravitz Design. This incredibly unique special edition set consists of an ornate Leica M Monochrom (Typ 246) camera finished in sepia-brown paint and wrapped in a vegan python leatherette, two matching sepia-brown paint lenses, two vintage-style brown lens cases, a woven carrying strap adorned with vegan python accents, all-purpose travel accessory pouches and a beautiful yet discreet weekender bag dubbed “The Drifter Traveler”.

This special M Monochrom camera is accompanied by a Summicron-M 28 mm f/2 ASPH. and APO-Summicron-M 75 mm f/2 ASPH., all finished in the unique sepia-brown paint. The front rim of each lens – along with the camera's thumb wheel, flash shoe, shutter button and soft release – are made of untreated brass. As a departure from the standard production model, the Summicron-M 28 mm f/2 ASPH. features a built-in telescoping lens hood, matching the design of its 75 mm counterpart. The unique lens cases included in the set are rigid vintage-inspired quivers that perfectly fit each lens and protect them while in transit. Fitting with the nomadic “Drifter” lifestyle of always being on the road, the set is completed by two all-purpose accessory pouches that can be used for photo equipment or travel essentials, and a lovely “The Drifter Traveler” weekender-style bag to carry it all in.

The unique vegan python leatherette was sourced from Kravitz's personal friend and revered designer Stella McCartney, known for her dedication to cruelty-free fashion standards.

The Leica M Monochrom “Drifter” is limited to 125 sets worldwide, and will be sold exclusively through Leica Stores and Boutiques. Please note that the set will ship as a “soft bundle” – one box containing the body and two lenses and one box containing the bag, lens cases, and accessory pouches.

Musician, Designer, Photographer, Drifter

Lenny Kravitz, the world-renowned musician and recording artist as well as creator of Kravitz Design, is also a passionate photographer. Having once collaborated with Leica Camera on the M-P “Correspondent” Set, his sophomore creation with Leica is a celebration of his love for black and white photography and passion for adventure. Always on the road and on the move, the “Drifter” Set embodies his nomadic lifestyle and free spirit. Accompanying it will be his new “Drifter” photo exhibition, making its world debut at the Leica Gallery in Wetzlar.

Typical application

landscapes, interiors, buildings, cityscapes, full to mid-body portraits

Notes and recommendations

  • You may be interested in the list of Leica M special limited editions. For each edition, the list shows the year of the announcement, the order number, the matching lens(es), and the number of sets released.

Lenses with similar focal length

Sorted by manufacturer name

Your comment

Copy this code

and paste it here *

Copyright © 2012-2022 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best wide-angle prime lenses

According to lens-db.com; among lenses designed for the same maximum format and mount.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Unique Leica Look

Leica lenses are one-of-a-kind optical masterpieces that are impressive because of their unique Leica Look. This is ensured through exceptional optical design combined with selected materials and the highest quality standards.

Leica lenses reveal their full potential only when mounted on Leica cameras, since only these have sensors precisely matched to their optical characteristics.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

MF

Sorry, no additional information is available.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.