28mm Street Photography — Why I chose the Leica Summicron (v3)
- 28mmStreet
- Apr 15
- 4 min read
April 2026 - Blog# 26
For the past two years, I’ve been doing street photography almost exclusively with a 28mm lens — the Voigtländer Ultron f/2 m2.
At first, it wasn’t a conscious choice. It was a new and exciting focal length for me to experiment with.
As the months progressed, I kept coming back to it again and again, until it slowly started to shape how I saw the streets.
As you might know, the 28mm focal length does “force” you to be closer. It doesn’t let you stand back and observe from a distance. You have to step in, commit, and become part of the scene.
That proximity changes everything — framing, timing, and how you anticipate a moment.
Now, two years on, it no longer feels wide — it feels natural. I began to notice more consistency in my photographs. My compositions became more coherent, my instinct improved, and I spent less time thinking about focal length and more time reacting to what’s in front of me.
After more than two years of shooting with the Voigtländer, I wasn’t experimenting anymore. I already knew what the 28mm focal length gave me.
I didn’t discover 28mm with the Leica Summicron — I confirmed it.
Why Leica and why now?
Buying the Leica 28mm Summicron f/2 wasn’t about trying something new.
It was a decision built on experience.
After committing fully to film in 2025 and simplifying my setup (selling my digital cameras), I wanted a lens that matched that direction — something I could rely on long-term without second guessing.
The Voigtländer Ultron had already proven that the 28mm focal length worked for me. The Summicron was about taking that one step further — not in terms of features or specs, but in terms of trust and permanence.
Over time, I found myself thinking less about what lens to use and more about removing that question entirely. I didn’t want to keep searching, upgrading, or comparing. I wanted to settle into a setup that felt "final".
For me, that’s what Leica represents.
Not perfection, but permanence.
The Leica M6 reissue had already become the center of my street photography. Pairing it with a Leica lens at my preferred focal length felt like completing that setup — not adding to it.
The idea of a “forever lens” started to make sense.
Not because it’s perfect, but because it removes the need to look elsewhere.
Because once that decision is made, my attention shifts away from the gear — and back to the streets.
First few weeks with the Summicron
The first few weeks with the Leica 28mm Summicron didn’t feel like a big shift.
If anything, it felt familiar.
The way I frame scenes, move through the streets, and react to moments didn’t change. That part had already been shaped over the last two years.
What did change was more subtle.
There’s a certain confidence in using a lens you know you’ll keep. The handling, the balance, the rendering — it all feels refined, but not in a way that suddenly transforms your photography.
The difference isn’t dramatic — and that’s exactly the point.
I wasn’t looking for change. I was looking for alignment.
The Leica Summicron didn’t change how I saw the street. It just made that way of seeing feel more complete.
There was, however, a short adjustment period.
The Voigtländer Ultron is a very small and compact lens, which made the overall footprint of my camera minimal. The Leica Summicron is both heavier and larger. At first, I was a bit put off by it — it was actually the reason I hesitated the first time I went to the Leica Store to pick it up.
But after a few weeks, I hardly notice the weight. In fact, I’ve come to appreciate the added heft — it feels more balanced in my hands.
The lens also has an integrated hood, which makes it physically longer. Initially, I didn’t like it either, as I rarely use lens hoods unless it’s extremely sunny. But over time, I found myself keeping it extended at all times.
Normally, I carry my camera over my left shoulder, and with the hood extended, it adds a bit of protection. If I accidentally bump into something, the hood takes the impact instead of the glass.
Lastly, the aperture ring is very smooth and doesn’t have the same tactile feedback as the Voigtländer. More than once, I’ve changed the aperture by mistake. I’m more aware of it now and check it occasionally to make sure everything is set correctly.
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