Light Lens Lab 28/2.8 9 Element Lens Review: Impressive and Character Rich

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A photography lens on a table, accompanied by its packaging box and a storage case. The box features "LIGHT" branding and a small text, "Petapixel Reviews," is overlaid on the bottom right. The background is an out-of-focus room.

Light Lens Lab (LLL) has released a re-creation of Leica’s first generation 28mm f2.8 Elmarit lens introduced in 1965. The Leica lens has become a collector’s item known as the 28mm 9 Element. It contains nine spherical surfaced lenses in six groups and the fast f2.8 aperture was a significant improvement from the Summaron f5.6 lens that preceded it. If you can find an original Leica 28mm 9 Element (V1) lens on eBay, prices range from $8,000 to more than $15,000.

The 2.8mm maximum aperture was a big breakthrough for Leica in 1965. Previous Leica designs had maximum apertures of f6.3 and f5.6. The wide aperture and symmetrical lens design by Leica increased the size significantly compared to its predecessors. The back focus was also very short causing the rear element of the lens to protrude deep into the camera. The lens could not be used with the Leica M5 or CL cameras due to their articulated meter and the meter arm could not function behind the deep rear element of the lens.

Many photographers prefer Leica’s older spherical design lenses that exhibit lower contrast at their maximum apertures. Stopping down the aperture increases contrast and resolution while decreasing vignetting. For many photographers, the appeal is like getting two lenses in one: a character lens when shot wide open and a more modern look when the aperture is closed two to three f-stops.

Leica’s 28mm M Lens Design History

Leica produced six different spherical 28mm M lenses from 1935 to 1992 and again in 2016. Later designs incorporated aspherical lenses enabling smaller lenses with improved optical performance.

Hektor, Summaron, and Elmarit V1-V4. It lists production years, max aperture, elements/groups, and units produced. Notably, Elmarit V3 had the highest units at 17,115. Source: Leica BIG Pocket Book.

So, why did Light Lens Lab recreate this Leica lens? It’s a rare lens with a unique optical design and imaging style with only 3,200 produced. Light Lens Lab’s business model is different from most other independent lens companies. They analyze older and rarer Leica lenses and recreate them using modern manufacturing technology and materials. Purchasing a new lens alleviates potential problems associated with a 50-plus-year-old lens for the user:

Is there fungus on the lens elements?
Have the lens coatings become hazy?
Are the front or rear lenses scratched from aggressive cleaning?
Does the lens focus smoothly?
Is there a lens shade available for the lens?
Do the aperture blades work and are they free from oil?
If the lens needs adjustment and repair, are parts available?

I was able to gain some insights from questions posed to Mr. Zhou at LLL in Shangrao, China through the company’s North American representative, David Yu-Heng Chen. In their expanding portfolio of lenses, this is their first 28mm lens. Testing Leica’s original 28mm nine-element lens showed significant distortion at f/2.8 along with color fringing with digital sensors.

Keep in mind, that the original lens was designed for analog film in 1965. LLL decided to retain the exterior design aesthetic of the lens while optimizing the original rendering characteristics of the nine-element/six-group symmetrical design. New proprietary fluorite-like elements were developed along with an extra-low dispersion (ED) glass element (sixth inner element) to reduce chromatic aberrations.

These changes provide improved contrast transfer function, especially in the periphery of images. Interestingly, the central image showed minimal distortion and did not need imaging improvements. The original out-of-focus light spots (bokeh) were triangular. The lens improvements now show circular bokeh characteristics. The original Leica lens body was made of aluminum. This new lens body is made of brass which makes it a little heavier. The dedicated lens hood is made from aluminum.

Diagram of a camera lens cross-section, showing various lens elements and their arrangement along a central axis. Different shapes indicate various lens types used in the construction.

Diagram of a camera lens cross-section showing the path of light rays. The lens elements are outlined, with red and green lines representing different light paths converging onto a point, indicating focus.

Two line graphs compare tangential and sagittal structures for f/2.8 and f/5.6 apertures. Vertical axis shows values from 0 to 1, horizontal axis from 0 to 20. Solid lines: sagittal, dotted lines: tangential.

An image showing two sets of MTF (Modulation Transfer Function) graphs for f/2.8 and f/5.6 apertures. Each set includes multiple lines representing different spatial frequencies, plotted on a graph with resolution on the y-axis and distance on the x-axis.

The updated design permits digital M camera meters to function normally. Not owning an original Leica 28mm 9E lens, it is impossible for me to compare imaging differences. The lens schematic is similar but different from the original Leica 28mm design. MTF graphs do exist for the original design. The Light Lens Labs design shows improved imaging performance in the periphery.

Light Lens Lab 28/2.8 9 Element: In Use

The lens I evaluated was number 488 of 998 and it was provided by Tony Rose at PopFlash.com who distributes Light Lens Labs lenses in the US. The lens build quality is excellent: the focus is smooth and the aperture ring has just the right amount of tension from f/2.8 to f/22 in half stops.

A vintage-style camera with a leather strap rests on a closed, tan notebook on a wooden table. The setting appears to be indoors with soft, diffused lighting.

The lens has a focus lock at infinity that is easily released by depressing a portion of the curved metal focusing tab. It balances well with an M10 body and accepts 49mm filters. The lens is brass and is available with black paint and chrome finishes. It comes with a leather zippered case, a dedicated lens hood, and front and rear caps. The rear lens cap is deeper than the standard M rear cap to accommodate the optics. The lens was also tested with a LLL multi-coated chrome 49mm filter. Prices for this lens currently range from $898 for chrome and $998 for black paint.

A black and silver vintage-style camera rests on top of a closed, yellow notebook on a wooden table. The camera has a textured grip and a wide lens with a rectangular hood. The setting is softly lit, suggesting an indoor environment.

Just like the original Leica lens shade, it is aligned with a small metal pin on the barrel of the lens. This dedicated aluminum lens shade has two indents used for aligning it on the lens barrel along with spring-loaded clips. With just one alignment pin on the lens, I found the lens shade to have a slight torsional movement when attached. This was not an issue when using the lens shade. It is a significant accessory that will reduce flare and veiling glare with this lens.

Although the 28mm 9E lens was significantly larger than the Summaron lens that preceded it, it is not that much different in size from other 28mm M mount lenses – except the pocketable 28mm Summaron.

Three camera lenses of different sizes and colors are positioned on a wooden table. The lenses have various markings and settings visible, with two silver lenses on the sides and one black lens in the center. The background is softly blurred.

It was a pleasure using this 28mm lens. In many instances, modern lens designs with multiple aspheric elements produce images that are sharp and contrasty that look the same as every other photographer using a modern lens. Using the LLL 28mm 9E lens is like stepping back in time to photograph but with the advantages of a lens manufactured with modern technology.

A bright sun shines over a lush green forest with hills in the background under a clear blue sky. Light lens flare is visible near the sun.

A person sitting in a cushioned chair on a wooden deck, facing away, with a scenic view of sunlit mountains and a forest. Two small potted plants and a blue cushioned bench are also on the deck.

I purposely compared images taken with the LLL 28mm 9E and Leica’s 28mm V4 lens as both have f/2.8 as the maximum aperture and consist of spherical lenses. The Leica 28mm V4 is a much newer lens that was introduced in 1992 and is a retro-focus design without aspheric lenses.

A line of acoustic guitars displayed vertically in a music store, each slightly different in wood finish. The guitars are positioned on stands, and the store's interior, with wooden flooring and a blue ceiling, is visible in the background.

Images taken with the LLL 28mm 9E had a slightly cooler white balance compared to the Leica 28mm V4. However, what was most surprising was the lack of distortion with the LLL 28mm 9E compared to the visible barrel distortion with the Leica 28mm V4 lens. The LLL 28mm 9E lens had approximately two stops of vignetting when used at f/2.8. I actually prefer a little vignetting in my photographs but if you don’t, it’s easy to compensate in Lightroom or other editing programs. You can also create sunstars and flare with this lens if desired. When shooting at f/2.8, there is a smooth transition from focus to out-of-focus areas.

A person with sunglasses and a patterned jacket sits cross-legged on a grassy hill, overlooking a forest with trees in autumn colors. The scene is bathed in warm, golden sunlight.

A person in a black cloak stands on a stone wall overlooking a vast, forested valley with a single bare tree in the foreground. The sky is clear and blue, and the trees exhibit autumn colors.

The images and colors produced by this lens have a certain character that is different from more modern lens designs. A trip along Skyline Drive and a visit to Thomas Jefferson’s home at Monticello in Virginia was great to explore with this lens.

A rustic room with a wooden floor features an upholstered chair draped with a cream-colored fabric. Beside the chair, worn-out tall leather boots lean against a wooden dresser with ornate handles. Sunlight softly illuminates the scene.

An ornate wrought iron fence in a cemetery, featuring a decorative emblem with the initials "JF" in gold. In the background, tombstones are visible among autumn trees with colorful leaves.

A vintage study room with a red chair and wooden desk. On the desk is a drafting tool. A telescope and bust decorate the room, with green walls and a large window letting in natural light. Red flowers add a pop of color.

A small dining table with a marble top set for two, featuring blue and white china plates, silver cutlery, two glass tumblers, and two metal cups. A floral-patterned carpet and part of a fireplace are visible in the background.

Should You Buy It?

The short answer is yes. This lens turned out to be one of my favorite ones to review. It reminded me of images taken with the 2016 Leica Summaron which has a maximum aperture of f/5.6 — except with the LLL 28mm 9E, you get that type of image at f/2.8. Used wide open, it is very sharp centrally with a gentle transition into the periphery.

There are many 28mm lenses you can use with a Leica camera and other mirrorless cameras. Finding an original 59-year-old Leica 28mm 9E in good condition without an astronomical price will be a very difficult task. If you bought one, would you even feel comfortable shooting with it?

If you are looking for a 28mm lens that has a pleasing character when used wide open, the LLL 28mm 9E lens is an excellent choice. Rather than duplicate the optical limitations of a lens introduced in 1965, Light Lens Lab initiated improvements for this classic 28mm 9-element lens. Optical performance is impressive wide open and improves further as you stop down the aperture producing more modern corrected images. If you want your wide-angle images to look different, this lens will deliver.

About the Author: Richard Clompus is a retired optometrist with an interest in optics and photography that spans five decades. Photography experience spans large format film cameras to extensive use of Leica and Canon gear. He has studied photography with Michael A Smith, Mark Cohen, Ralph Gibson, and Mark DePaola.

All photographs in this article were taken by the author. There are no financial interests of any kind with Light Lens Lab and PopFlash Photo. The lens and accessories were returned after three weeks of testing to PopFlash in California.

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