Category Archives: Leica Digital Cameras

Leica is F**king With Us Again

Leica M10-P Reporter

Leica Camera has announced a limited edition M10-P “Reporter” as a homage to press photographers.

The M10-P Reporter features a dark green design and Kevlar covering, a high-strength synthetic fiber used in ballistic-protective clothing.  This Kevlar covering will gradually turn the same color as its top and base plates through exposure to sunlight, “developing its own patina, which means that each camera will become a unique signature of its owner.” Leica M10-P Reporter sells for $8,795.00 and is limited to 450 units. No word on whether there will be a subsequent Lenny Kravitz version.

My Question: is there a guy who sits at a desk in Wetzlar tasked with thinking up shit like this that will drive us crazy?

The Leica M10-P Reporter in pre-patina state

The Myth of the Big Fat Leica M240

Leica M 240

“There’s no question: time to dump your old M240 while you still can. It was too big to be considered a real LEICA… Who were they kidding? Ditch your M240 while you still can. I never kept my M240; I sent it back and have been using my M9 ever since for its smaller size and much faster and simpler operation” — Ken Rockwell in his review of the M10

And You Thought the M240 was Big

Small dimension changes can feel quite different. When the M3 came out there were complaints about the size from IIIf users; Leica bragged the M5 was only a finger-width larger than the M4 – but people thought it was huge; the M9 felt too thick compared to an M6; etc. Then there are the people who complain about the size of the M240 and then add shit to it (half case, grip, EVF, thumbs up, soft release, etc.) And then there’s Ken Rockwell.

Yo, Ken: Leicaphiles bitched about the 2.5″ LCD of the M9. Leica put a bigger one in the M240. People bitched about the battery capacity of the M9. Leica fixed that with the M240. Those two upgrades take up room. The difference between the M240 and M9 can be attributed to the need to accommodate the larger rear display and the thumbwheel/rest. Even so, the 240 is virtually the same size as the M8/9 and only a few mm thicker (and the same width and height) than the M6TTL.

Here are some relevant numbers – M240: 139x80x42 millimeters – M9: 140x80x38 millimeters – M6: 138x77x38 millimeters. The M240 is 0.15748 inches thicker than the M9 and M6.  

If you’re looking for a digital M, the M240 currently a screaming deal, not much more than a ratty old M8 and about the same as the much inferior M9. You can buy two lightly used M240’s for less than the price of a used M10. I beg you to find any significant difference in their output (If you’re one of those insufferable people who judges a digital camera on its DXO score, the M240 and the M10 are basically identical in terms of claimed IQ, the M240 actually scoring better overall dynamic range while the M10 has marginal better high ISO performance).

The M240 isn’t bigger, it’s heavier. More weight can cause users to grip the camera differently, affecting the perception of size. The Barnack IIIf weighed 430 grams (.947 lbs), for instance, while the film M’s weigh in the neighborhood of 600 grams (1.32 lbs). The Leica M9 is 585 grams (1.28 lbs). The M240 is 678 grams (1.49 lbs). The ‘added weight’ of the M240 over the film M’s (.17 lbs!) is due to the larger battery, which is the first digital M battery that’ll last a whole day of shooting. The film era sized 2017 M10, while lighter than the M240, is back to the smaller, less powerful battery of the M9, and users are back juggling multiple batteries if they intend to shoot all day. But hey, it’s .15 inches less thick. One step forward, one step back.

Leica’s “Urban Jungle” CL

Leica has introduced a new CL model, designed “in collaboration” with French-Italian “photographer” and mega-yacht owner Jean Pigozzi, based on the original CL released two years ago.  Mr. Pigozzi is the same guy who in 2017 designed the Sofort “LimoLand” instant camera. Mr. Pigozzi’s “affinity for small, unobtrusive cameras and his love for the Leica brand inspired the French-Italian photographer, entrepreneur and art collector to design the ‘Leica CL URBAN JUNGLE by JEAN PIGOZZI’. ”

Mr. Pigozzi’s 67 Meter Yacht. True

Apparently, what’s “new” is the leatherette covering, which reflects the undeniable panache of Mr. Pigozzi, and a new “award winning” grey rope strap “to match the body’s styling” [Who knew there were awards for camera straps?] Internals are the same as before – a 24.2MP APS-C sensor, EyeRes viewfinder, Maestro processor and Elmarit-TL 18 mm f/2.8 ASPH lens, which gives the user an effective focal length of 27mm. It’s available in Leica stores for $3950 as of June 25.

Somehow, I can’t escape the incongruity of the uber-rich claiming identification with the “urban jungle.” Then again, this is Leica World, where fake aristocrats and third tier pop stars with no photographic chops get feted as visionary creatives.

Leica and Lenny: A Match Made in __________?

Lenny Kravitz, Correspondent, Stalking Urban Prey with His Drifter Leica and Poofy Cap

Leica is now offering a “Lenny Kravitz designed” Leica M Monochrom camera, a Leica Summicron-M 28mm f/2 ASPH, and a Leica APO-Summicron-M 75mm f/2 ASPH. Buy now and Leica will throw in, at no extra cost to you, matching accessories, including a vegan python carrying strap, matching brown vegan leather carry cases for each lens, versatile pouches, and a brown “Drifter Traveler” weekender bag. No word on how Leica was able to identify and cull “vegan” pythons from regular ones.

Mr. Kravitz’s input seems to have been the idea to paint the camera brown and cover it in snakeskin, which everyone over in Wetzlar considers a brilliant idea, as it apparently conjures up people who are free spirits.   “The striking special edition set celebrates Kravitz’s dedication to visual storytelling and pays homage to his inspired, nomadic lifestyle,” Leica says. “A self-proclaimed drifter himself, the attractive set was designed with Kravitz’s vision of being a free spirit, always on the road and open to adventure – ingredients that ignite visual storytelling.”

The Laconic “Guy Wearing Heels Doing Funky Gymnastics Inside Unidentified Commercial Establishment” by Lenny Kravitz, currently on exhibition at Leica, Wetzlar

The Leica Gallery in Wetzlar, Germany is hanging an exhibition of Kravitz’s photography in conjunction with the Drifter release.“ The photo series, inspired by Kravitz’s nomadic lifestyle, will feature intimate portraits, laconic snapshots, carefully observed scenes from the street and well-composed moments in hotel rooms, all captured during his time on the road,” Leica says.

A Tale of Three Cameras

Peter Davidson is a former commercial photographer who now shoots for himself with a “hopelessly outdated” M9. The photos are all Mr. Davidson’s

Here are two cameras, both important, but separated by twenty years. The Kodak Brownie 127 and Leica M6. Each a delight to hold, simple to use and each delivering that photographic experience as a photographer, I relish. The opportunity to capture some fleeting quintessential moment that not only speaks to and for me, but to others. Personally, there is no argument as to which camera was the more valuable. The Brownie of course. And not just because that Brownie was my first camera back in 1965 and the M6 merely my first Leica in 1985. No, it was because the Brownie’s simplicity enabled me to see while not thinking (or indeed knowing) how to capture that what I saw. It just worked. And basically any camera that works well, and I don’t just mean in the mechanical sense, is essentially a means to an end. They are tools. So is this strange phenomenon of Leicaphilia a love of photography or of the tool? What is going on?

As I’m typing this, my nine year old and hence positively prehistoric and ancient (for digital) M9 is balefully staring back at me with its even older (25 years old in fact) Summicron IV single eye. Alongside is standing my equally old 90mm Tele-Elmarit with its fine coating of lens-fungus that gives results in a kind of cut-price Thambar way. All are in beautiful mint condition (apart from some fungus of course, but that is nothing). I look after my cameras. They are my tools and I trust that if I look after them, they will look after me. I shake my head at the wannabe war photographers who love to own a brassed and abused camera because of its ‘patina’. If it was previously owned by HCB, ok. If not, no thanks.

I’ve been a working advertising cum editorial professional photographer since 1971. That means, though still spritely for a man now pushing seventy years old with two major heart attacks under his belt, my eyes are not what they were. Nor are many other things. And I’m retired. All of which means I now photograph for myself and no one else.

So to return to my opening paragraph and the M6. I didn’t know any professional colleagues in my photographic field who owned a Leica back in the day. It wasn’t really the right tool for most jobs. Or any job really. It was full frame, in 21st Century speak, and as such technically limited. The Hasselblad was much bigger and hence better technical tool. As was 4×5 film and 8×10 film. The same rule applies today of course. For 35mm, or full frame if you prefer, the SLR ruled as it still does, but that is now changing. Basically, what I’m imperfectly trying to say, is that I was a TTL man through and through. The rangefinder was alien…

With my Nikon I could see exactly what I was shooting and focus quickly anywhere in the frame and could change a film roll almost one handed in the dark. The M6 was non of those things. What it was though, was a beautiful mechanical thing. A gorgeously built icon of photography. So, finding myself with some money to spare, I bought one. And found it so slow and difficult to use it drove me mad. It didn’t suit my photographic style. So I put it away for over twenty years, bringing it out occasionally to try and master the damned thing. Gradually, very gradually, it began to grow on me as my shooting style changed and I warmed to the experience. I realised, as I had long suspected, the camera wasn’t at fault, the fault lay with me.

I discovered I only needed to return to the Kodak Brownie state. Shoot don’t think. Relax. Let the camera do the work. Trust in the camera. Finally I began to fully appreciate the quiet unobtrusiveness of the small lens/camera form factor. Less intimidating for my subjects, being humble and quiet and therefor better. After nearly forty years as a photographer, I began to ‘get it’. So, of course, I sold my M6…

And bought an M9. Why? Because while I appreciate film, it’s a total pain in the arse. All my life I’ve battled Kodachrome exposure intolerance and while I loved Tri-X granularity, the whole film processing snafus, dust, scratches and water marks I can do without. And while I loved splashing about in darkrooms for hours, frankly I haven’t got many hours left.

The M9 is a flawed camera and hopelessly outdated. On paper. However, it’s secretly a film camera. That’s because it’s limitations are clear and to get the best from the camera you must work within its limitations and not in spite of them. Then it rewards you handsomely. And really, isn’t that the basis of the whole analogue resurgence? And it’s monochrome output, if the ISO is kept below 800, is to my mind the digital equivalent of Tri-X. You see, I know what this camera does. When I pick it up I know, for instance, that I will not have pressed some obscure button and accidental changed the shooting mode. Everything is simply laid out, visible and accessible. It works. It doesn’t get in the way. I don’t have to spend hours prodding menu buttons to make it do what I want. So of course I’m thinking of selling it…

Mainly because I’m finding it ever harder to focus manually. But what to get? I’ve checked out the small compact competition and they are fine, with quick auto focusing and comparatively very cheap but compromised either by ergonomics, sensor size or physical lens size. The thing is, on the M9 the 35mm Summicron lens is tiny. Really, really tiny. The Q by comparison has a huge ugly lens on its front. And it’s too wide at 28mm. And it’s fixed. I’m not convinced enough yet to part with my beloved M9. And if I do, it might have to be another Leica. Beloved? Did I use the term ‘beloved?’ Oh dear, have I contracted the strangely communicable disease of Leicaphilia? As I said earlier at the beginning of this piece, what is going on? Or as our yoof might text, WTF?

Yes, I am more attached to this camera than I am to my other long held and venerable cameras. The M9 welcomes my hand, feels right, comfortable and reassuringly solid and dependable. As do my Nikons of course… But they, in the end, are more tools for technical photographic challenges, while the M9 is more a tool for the heart, for expressiveness and intimacy. For capturing the human experience. It facilitates creating photography of meaning. So of course, as with any favourite craftsman’s tool, it also captures the heart of the photographer. How could it not?

64 Meg Leica Introduced

Leica has announced a new S model, the S3, with a 64 megapixel “Medium Format” (45x30mm) sensor. It will retain the optical viewfinder on the S2,  which had a 37-megapixel CCD sensor, and debuted way back in 2008, when Leica’s current digital M was the M8.

Coming some time in 2019. No word on price.

*************

On a related note of interest for Leicaphiles, Sigma plans to produce a full-frame (24x36mm) Foveon mirrorless camera. Till now, the largest Foveon sensor is the APS-H 51MP SD Quattro H mirrorless camera. The real news is that this new full-frame Foveon camera will use the Leica L-Mount and not, as the current SD Quattro, its own SA mount. I suspect a full frame Foveon mated with L-system lenses should be a match for the S3 in terms of output quality…at a 1/10th of the price of the S3 body.

If you own SA mount lenses and want to use them with the new camera, Sigma will be able to convert some SA mount lenses over to L-Mount, while the company will also be offering a SA to L-Mount adapter.

I own the APS-C SD Quattro and love it. The Foveon sensor works by interpreting color by capturing light at three different depths, and is capable of stunning results at lower ISO, much like film, but struggles with noise at higher sensitivities. Expect the same with the full frame Foveon. Think of it as digital Panatomic-X.

The Zagato Leica

Zagato is an independent automobile design company and total design center located northwest of Milan, Italy. Apparently they’ve been hired by Leica to create a limited edition M10, price approximately $26,000.

My question is this: what is the Zagato M10’s purpose? Who is it being made for? To do what with? I’d feel vaguely foolish carrying one about for regular use and I don’t care who designs it, or what its made of –  it’s an M10 with non-functional design cues added to appeal to people who know the Zagato name. I’m not sure what car designers, even the best, can add to a photographic device, and the filmed advertisement for it above never articulates an answer to this obvious question. So, the motive behind the camera appears to be pure, vulgar ostentation. Why, when you could easily do so much better?

In any event, regardless of who it’s designed by, it’s not half as cool as a nice, well-used IIIg with Leicavit, which isn’t merely a beautiful design, but was designed as a working camera by designers who were also photographers, functionality always being the best design principle. That’s what the current people running Leica seem not to understand: the timeless designs of the iconic Leica Film rangefinders were a result of functional decisions. Now, design decisions seem to be about bling.

This is a Beautiful Camera. It was designed by camera guys at Wetzlar

As for collector value, I wouldn’t put money on any digital device having long-term value as a collector’s piece, given it’s not a mechanical device but an electronic computer with all the inherent obsolescense problems associated therewith.

Instead of projects like this – designed by luxury car designers or inspired by rock stars – you’d think someone at Leica would think back to Leica’s history and proudly work from there. Is that too much to ask, Leica?  Instead of these pointless vanity pieces, why not play to your strengths and your history and design a new all mechanical film camera, you know, the kind that made you famous. Yes, there’s still a market for serious film photography, certainly a larger market than that of the Zagato M10, and it seems to me you’re the obvious company to exploit it. How about this: stress minimalism – a 35mm rangefinder w/o meter, simple mechanical shutter, manual focus M-mount with capability to use the full range of Leitz optics. Give it an updated body design, not something radical but an evolution of the LTM and/or M models and their timeless designs. Make sure it has an engraved top plate. Please do not put a red dot on it, or a dot of any color. Hand assemble it, just like the IIIg and M3. Price it fairly for both leicaphiles and Leica AG. Don’t do something stupid like giving every buyer a roll of Tri-X to sweeten the deal. Do not put someone’s name on it. In other words, act like the proud company you once were. I’m pretty sure a sufficient number of people would line up to buy it. Or, if that’s too ambitious, why not make a new run of M3’s, much like Nikon did with the S3 and SP in the early naughts…not a replica, but an actual M3 indistinguisable from the ones you made through 1966? I assume you’ve got the tooling to do it. Make some in black paint. Offer it with a Leicavit. Call it the M3R. Leicaphiles will go nuts.

Whichever of the two options you choose, you’ll be trading on the Leica name in a way that honors your history in a serious way and shows some basic understanding of why the Leica name means so much to so many in spite of your heretofore short-sighted vulgarization of the brand. You’d make a lot of us really proud, you’d make a huge splash in the camera world, you’d bolster your flagging reputation with serious photographers, and you’d probably sell a few cameras. And you wouldn’t have to pay some famous designer to do it.

Marcus Wainwright (Yup, THE Marcus Wainwright) Wants to Sell You a Glow in the Dark Leica

Would You Buy an $8000 Camera That “Glows in the Dark” from the Guy on the Right?

As the renowned fashion designer explains: “For me, Leica embodies the pursuit of perfection in an object with the lifelong mission of fulfilling its function. That’s why I love Leica.”


Leica has just announced a new Monochrom, designed by a “fashion designer.”  Yup. The Leica M Monochrom special “Stealth Edition” is designed by Marcus Wainwright, founder and owner of  “rag & bone”, a hipster joint in Chicago featuring  “wildly flattering jeans, flowy [sic] dresses, cult-status booties, and general urban, monochromatic vibe” with “the simplicity of the ’90s played into some of the collection’s more delicate pieces like the slip dresses and lace separates and the Mary Jane shoes.” According the Wainwright, in addition to the Mary Jane shoes they’ve got “a lot of cool styles, from heavily quilted leather parkas to camel hair overcoats.” Apparently, the guys at Wetzlar feel this qualifies him to design a Leica that “glows in the dark:’

Marcus Wainwright’s design concept is the individual perfection of existing icons. In the case of the M Monochrom “Stealth Edition,” this means taking the discreet unobtrusiveness of the camera to the extreme. A special scratch-resistant, matte paint is used to make the surface finish as black as possible. Accompanying it in matching jet-black, the leather trim of the camera is made from an extremely smooth full-grain cowhide that also offers excellent grip.As a striking visual counterpoint, the most important engravings on the camera and lens are intentionally highlighted with a special fluorescent paint that glows in the dark. This enables faster setting of the aperture or focusing of the lens in low-light situations. The set includes a comfortable black fabric carrying strap, a metal front cap for the lens, and a certificate of authenticity. The edition is strictly limited to only 125 camera sets for the worldwide market, each of which bears a special serial number.The word “Stealth” describes the extremely discreet appearance of the camera, which is essentially characterized by its matte black paint finish, black leather trim, and the omission of color for all “unnecessary” details.

Marcus Wainwright and Leica – a perfect match.

Wainwright is also a dedicated Leica photographer who shoots with various Leica cameras, often in black and white using his M6.

Make of this what you will.

An Ebay Tutorial on Digital Leicas

Some time ago I posted a piece called A Quick Ebay Tutorial on Leica M Cameras. Its subject was the remarkable stupidity of the canned Ebay product descriptions for various Leica M bodies. I was poking around Ebay the other day looking at various “vintage digital” cameras (my latest fixation) and realized there existed a whole subset of ridiculous product descriptions for digital Leicas. Yes, these are the actual product descriptions:

The Leica M8: A portable, flexible body always ready for snapping and holding on to large numbers of action shots because it comes with batteries

Designed for delivering bright and beautiful pictures and preserving great pictures for you in a variety of different conditions, the Leica 10.3 MP camera is a portable body only that is flexible. With its silver body, this Leica M8 will be a refined platform for preserving memories. This Leica rangefinder digital camera has a 2.5-inch LCD screen, therefore you can share photos with ease. With the 10.3 megapixel image sensor found on the Leica 10.3 MP camera, you can create 9×14 inch prints of the moments of your life and share them with family and friends. Enlarging and cropping won’t adversely affect picture quality if you get a camera with additional megapixels. This Leica M8 is excellent for snapping and holding on to large numbers of action shots, with a flash memory card slot, so that you will be able to select the number of pictures stored in the camera. You will be able to always be ready to catch the moments of your life as this Leica rangefinder digital camera comes with batteries.

The Leica M9: A Sleek Device For Capturing Photos of Family, Bucolic Meadows and Beautiful Flowers

Made for delivering amazing photos and storing great pictures for you in a variety of conditions, the Leica 18.0 MP camera is a flexible portable body only. This Leica M9-P can help you capture dramatic snapshots of family anytime. Capture family pictures, your closest friends, bucolic meadows, or beautiful flowers with this Leica rangefinder digital camera. Few things are more fulfilling than viewing life’s passages in a photograph. With a flash memory card slot, this Leica M9-P is just right for snapping and storing large numbers of special photos, so you can extend the memory size of the camera. With its black paint body, this Leica rangefinder digital camera is a sleek device for taking pictures. A greater number of megapixels means cropping and enlarging will not adversely affect picture quality. With its 18.0 MP sensor, the Leica 18.0 MP camera is perfect for producing wonderful prints, so you can create wonderful prints as large as 12×18 inches. This Leica M9-P allows you to always be primed to capture your life’s great moments with its rechargeable Lithium-ion batteries.

The Leica M240: Very Good at Helping You Reflect On Favorite Moments

Reflect on your favorite moments with your friends using the Leica M Rangefinder Camera. Ideal for enlarging your pictures, it boasts 24-megapixel resolution to deliver impressive image quality. The Leica camera features a USB port, making it easy to transfer your travel photos to your laptop. Discover a world of photography with this Leica M Rangefinder Camera.

The Leica X1:  A Rangefinder Camera with a Lens That is a High Quality Piece of Equipment, Developed With Care, Which Allows You to get Up Close and Personal With Your Subjects

You’ll be amazed at the quality of pictures produced by the Leica X1 and its lens, developed with care by Leitz. This camera will vie to become your go-to compact camera for all your important events and memorable moments.The Leica X1 captures images at a resolution of 12.2 megapixels, a principal measurement of photo quality.  Images on this rangefinder camera are recorded on an embedded CMOS image sensor. It allows users to produce results that normally would require greater technical skill. You’ll get tremendous photographic value out of this camera model from Leica, which is well known as a leading manufacturer of high-end photo equipment with quality lenses. At 12 megapixels, the images captured by this model can be printed to a variety of sizes.  A fixed-mount Elmarit 24 mm lens with an aperture ratio of 1:2.8 is offered with the X1. These Leitz lenses offer pristine quality. Leica lenses are high-quality pieces of equipment, so you’ll be able to get up close and personal with your subjects without sacrificing picture quality.

The Leica D-LUX: Ideal for Photos of Distant Sights While on Vacation

Establish a keen eye for photography with this Leica D-LUX Point and Shoot Camera. The camera has 10-megapixel resolution, producing beautiful images from your adventures. Ideal for capturing photos of distant sights, it is equipped with 4x optical zoom to magnify images without compromising quality. The camera features a USB port for storing your photos on your computer or laptop to show your friends your beautiful pictures on a larger screen. Capture gorgeous vacation photos with this Leica D-LUX Point and Shoot Camera.

Is CCD the New Film?

Are these about to become “hip?”

“A lot of interviews I read on photography sites end with a sort of adage about the best camera being the one you have with you or how film inspires you to just think and shoot rather than pixel peep. I think photography is more than just capturing an image though; it’s also about imposing your vision on it. The best camera is the one that’s right for the vision, with the right noise profile, lens distortions, etc. “


DPReview has a very interesting article about Sofi Lee, a Seattle photographer who shoots with “vintage” (read 8 years or older) CCD lower resolution digital cameras, essentially her reaction against the clinical excellence of modern digital photography:

At the time, I observed to myself that the re-emergent fascination with film was probably ephemeral, specific to the current zeitgeist and highly rooted in nostalgia. So I asked myself, ‘What will be the thing people look back to next, after film?’ I started digging through Flickr archives of photos taken on older point and shoot digital cameras, or ‘digicams’ as some people called them, and felt there was something different about them.

They stood out in a way apart from modern digital files: The dynamic range is narrower and the shadows have a character that looks different from those of modern CMOS cameras [due to the lower pixel count and simplistic noise reduction.

Apparently Ms. Lee studied at a “commercial photography trade school” in 2014 and watched many of her peers either shooting film or trying to recreate the aesthetics of film in editing. “There were definitely a lot of talks in class about photographs looking ‘too digital’ as well as instructions on how to add more of an ‘organic, analog’ feel to your images.” Her response was to embrace the technical imperfections of older CDD digital tech.

Ms. Lee is obviously of the digital generation i.e. her interest in photography dates to the digital age, which might explain her reflexive (and wrong) dismissal of film photography as “ephemeral” and rooted in “nostalgia.” She might want to read a book or two about the history of photography before she makes facile statements about the “ephemeral” nature of current film use. I suspect she’s never run a roll of film through a camera in her life and wouldn’t know what to do if she tried, which would explain her ignorance of, and antipathy to, film. One could obviously make the same criticisms about her fixation with dated CCD technology, the impulse being the same, the means simply being different. What’s interesting to me about the piece is that she articulates the same criticisms of digital capture as film partisans and does so in an articulate way.  I suspect as well that at some point in the near future someone will lend her a film camera and she’ll have her own Eric Kim moment.