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Leica M9 digital rangefinder camera - Page 19 - Leica M9 Confessions
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Leica M9 Digital Rangefinder Camera - Page 19

Leica M9 Digital Rangefinder Camera - Page 19

Index of Thorsten von Overgaard's user review pages covering Leica M9, Leica M9-P, M-E, Leica M10,
Leica M 240, Leica M-D 262, Leica M Monochrom, M 246  as well as Leica Q and Leica SL:

Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 M9-P   Links
Leica M10
Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44         What if?
Leica M-D 262 1 2                        
Leica Monochrom 20 21 22 23 24 25 26 27 28 29
Leica Q 1                            
Leica SL 1 2 3 4 5                               Books


My (Almost) Complete Guide to the Leica M9 Digital Rangefinder

By: Thorsten Overgaard. June 9, 2016. Last edit on February 2, 2017

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Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Leica M9 Confessions

I was sitting in my car on the Autostrade to Rome, pretending nothing had happened. 37 months after the Leica M9 disappeared into the closet, the Leica M9 returned.

First 179,000 actuations on my two Leica M9 cameras and then a few years without any action, then I called my Leica M9 back into action. What should have been a few days turned into a few weeks and then suddenly more than a month.


Paris, May 2016. Leica M9 with Leica 75mm Summilux-M f/1.4. © 2016 Thorsten Overgaard.


My two Leica M 240 cameras had to go off to the factory in Wezlar for adjustment and cleaning back in April 2016. Just for a week you know, but then when I had them back, I kept using the Leica M9.

It's been workin' so long it don't know how to stop.


Cannes Film Festival, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Leica M9 Video Review on Magic of Light Television

I've added this Leica M9 review to my Magic of Light Photography Television channel:



The Basics of Photography

You have to appreciate the simplicity of the Leica M9. Like it used to be when it was film in the 1970’s.

You easily forget the basic virtues in the constant stream of new cameras with fancy features.

When I meet press photographers, they often stare at the Leica with almost wet eyes and a distant look in their eyes as if they look at memories from a happy childhood.

They sort of do, but the last question is always the same, “Is it still manual focus?” and we all know the answer to that question.


Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Yes it is manual focus, as it always was. I could try to explain the simplicity, but their eyes darts with the jealousy of the illiterate.

Years with automatic focus, and many other automatic buttons to help control a number of photographic problems that never existed, have created monsters of cameras operated by a generation of photographers, dealing with the subject of photography as if it was incomprehensible.


Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


That is what people appreciate about their smartphones, the simplicity of it all. What manufacturers of small digital cameras could learn from that is that people like simplicity. Yet the rule is that the smaller a digital camera becomes, the more complex the menu also becomes.

With the Leica M9 it’s easy to see how simple it is. An island of solitude, unsponsored, free.

“You're not a camera,” I whisper to it when I look through its viewfinder.  “You are a Leica. Possibilities of emotion and adventure.”


A young entrepreneur in Viareggio, Italy, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Simple is not easy

I found an unexpected familiarity and simplicity with the Leica M9 as soon as got it powered up and I managed to hammer off the rust sitting in my muscle memory.

Somewhere in my mind I had written off the Leica M9 as yesterday’s camera, replaced by the new and better Leica M 240. I wasn’t likely to return to the Leica M9 for any reason. Why would I?


Restaurant "Le Grand Colbert" in Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


I was soon to realize that it has all I need, even with it’s much slower pace and the less detailed preview screen on the back.

The screen is raw and lacks a lot of the finer details. Darker tones appear as pitch black often, but you quickly get used to it. I see enough on the preview screen to be able to judge that the exposure is right or if it needs adjustment.  


Remembering how to play. Denmark, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


I took it the simple way. I had to. After all, my trusted Leica 50mm Noctilux-M ASPH f/0.95 was also in the factory in Wetzlar for a much needed checkup (for the second time in a few years I had banged it so hard against something that the filter thread needed to get replaced. I couldn’t screw on an ND filter, that’s how bent the front tube of the lens was).

I didn’t use a lot of lenses. The initial return to the Leica M9 was with the purpose to just have a camera with me so I wouldn’t feel all-naked.


Morning commuting in Bologna, Italia, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


I continued that simple approach and found that I didn’t care much about lens or anything. Whichever was on the camera I would use, and that happened to mostly be the 50mm APO-Summicron-M ASPH f/2.0.

A healthy month of return to something simple and basic, the Leica M9 first and foremost taught me that I don’t need the latest and greatest.


Jüdischer Friedhof Prenzlauer in Berlin, May 2016. Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Thorsten Overgaard.


I feel accomplished that I can use a 7-year-old digital camera and get it to work. Hardly any noticeable difference if it was this or a brand-new model.

But let’s not fool ourselves. I’m not suggesting we all go back and buy a Leica M9. As soon as the Leica M 241 hits the shelves some time after September 19, 2016, we’ll want that one. Every fiber in us will work overtime on finding arguments why it is necessary to have.

Hopefully the most prominent features of the Leica M 241 will be that there aren’t any features.


Sunset at Cannes Film Festival, Hotel Carlton in Cannes, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



Grand Hotel Principe di Piemonte in Viareggio, Italy, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



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Quality of files and all

I feel the return to the Leica M9 didn’t make it more difficult to make photographs. It has a steadiness about it, a toughness without the show. You should think a new improved Leica M 240 with faster buffer and higher number of megapixels would make things better, but I don’t find that to be necessary to obtain the quality.

On the other hand, the reason to get the latest and greatest model should be to improve the photographs.


Editing at the Overgaard Workshop in Berlin, May 2016. Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Thorsten Overgaard.


But listen to this for a moment. Why should we only demand newer and better camera models to improve our photography? What about ourselves?

Why not apply the same demand to our own skills?

Reboot our photography and see if we can make our skills – independent of the equipment – into a new and better model?

I’ll leave that thought hanging there …


Improving the skills. Everybody editing at the Overgaard Workshop in Paris, May 2016. Leica M9 with Leica 75mm Summilux-M f/1.4. © 2016 Thorsten Overgaard.



The vintage Leica digital camera

I’ve said it before and I will repeat it, ever more convinced about the truth of it. The Leica M9 will be a classic Leica digital rangefinder in the history of Leica digital cameras. It was the first full-frame digital Leica M and it had most things right. Much like the Leica M6 film camera that marked a revival of Leica and was a best-seller (that’s why it is so easy to find a Leica M6 second-hand today. There are a lot of them around).


The Leica M 240's and the Leica M9 in Los Angeles, June 2016. Leica Q. © 2016 Thorsten Overgaard.


Like a Nikon F3 you wish you could use for always, the Leica M9 is the old quiet friend that does the job with it's distinctive sticky slow shutter sound. Alone in the world, but never lonely.

Not with this old friend.


Inside the Hermes store in Paris where the picture of Jean-Louis Dumas (1938-2010) is hanging. He always carried a Leica and a red notebook. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


It’s been a month of freedom to use the Leica M9 again and I am not sure when I’ll stop using it. My two Leica M 240’s are still on the shelf and hardly been used since I got them back.

It isn't that the M9 is an improvement but rather the added complexities have been replaced by a familiar simplicity.


The Lightroom Survival Kit



Cannes Film Festival, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


What’s not changed on the Leica M9

I missed the EVF-2 with the ability to use macro and to see the final image with sharpness and exposure. The speed and the buffer as well. But nothing of it was any great concern after a while.

The Leica M9 battery still lasts more than half a day. Two batteries are enough for a day. Three if you are shooting a wedding.


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Some times the camera says "Battery Low" even the battery is fully charged. This may happen when you just removed a drained battery and inserted a new one. Simply turn off the camer, take out the battery and insert it again, turn the camera on again and it will have registred there is a new battery.

On May 31, 2016, described that Leica is recalling and replacing certain Leica M8 and Leica M9 batteries that shows a false, 100% charge level no matter what the actual charge level of the battery may be.

I had forgotten that the Leica M9’s buttons are easily activated, getting pressed and activated during walking. It reminded me that the new backside of the Leica M 240 is well designed, and likely the M 241 will be teaching us a complete new lesson on how the back of a digital camera should look. Look at the Leica Q and the Leica SL and it won’t take much imagination to envision the future back of a Leica M.


Details from a very unique Harley Davidson I cane across in Germany, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



18 MP versus 24 MP

One of the great things about revisiting older digital cameras is the surprise of how fast the smaller file sizes move in a digital workflow. The computers chew them up and process them as fast as children eat strawberries on a hot summer day.

Even that you get used to and I stopped noticing it. Not until I loaded a card with pictures from the Leica M 240 did I realize how fast it is to work with Leica M9 files. Importing and building 1:1 previews (as I always do) it took considerable longer with the Leica M 240 files.


On Rue du 4 Septembre in Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Spanish tortilla on roasted focaccia bread, onion, pesto and more yummy stuff. Denmark, April 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



The colors of the Leica M9

I don’t think the colors of the Leica M9 are better or worse than the Leica M 240. But I feel they have been established as pleasant colors. In photography, as in life, we seem to question the new and find comfort in the old.

It’s with the Leica M9 as with film. The old ways are always the best ways so I don’t have to ask anybody if the colors are nice. People will automatically appreciate the recognizable look of Leica M9 colors.


Sunset over the beach city Viareggio in Italy, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



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Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


How to get the M9 shutter count

Want to see how many photos you Leica M9 have taken? I have taken 137,675 pictures with my main Leica M9 so far and 48,941 pictures on the backup Leica M9.

The backup Leica M9 has mainly been borrowed by others as, and as my backup camera. I’ve only done 20,000 or so of the picture on that one.


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


I’ve never had my shutter replaced or encountered any problems with it. I think Leica Camera AG initially said in their specifications for the Leica M9 that the shutter was guaranteed 100,000 actuations.

Here’s how to find the number of shutter actuations on the Leica M9:

A1) Upload one of your latest pictures here (any size JPG exported via Lightroom will do):

A2) Seach the result page for the “Image Unique ID” number and  convert it to a number here:

B) There is also a software, M9 INFO for Mac what you can download and drop a DNG file into and it will tell you the file number. You can find the software here as a zip-file that will download. There is a description of the software on this page (but it's rather easy - you drop a file into the software and it gives you the iamge number).


A young princess getting ready in Wetzlar, Germany, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



How to buy a second-hand Leica M9

If you are looking for a second-hand Leica M9, you may think, "what to look out for?"

I think I would look for a complete set where the previous owner simply upgraded. That would usually include a complete working camera with extra batteries and other extras as strap, Thumbs-Up, etc.


Big cigars in Cannes, France, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Another good deal is usually the ones who bought the camera but never got to use it. While it is a little sad they never got to realize what a great thing they had, your purpose is not to revitalize their lust for the camera but help them get rid of this precious instrument they found in the bottom of their closet and now want to sell.

Most viewfinders on Leica M9 will be nice and clean. It's only when cameras gets 20+ years old you have to worry about bluish or yellowish viewfinders.


Looking for wifi, Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


You might want a camera that looks as new as possible. You could also go for a camera that has been used a lot and has lots of brass and patina showing. It's one of those things that I find funny: When people see a brassed camera (used heavily and paint is missing so the brass shows), they think it is beautiful. But at the same time they protect their own camera against the smallest scratches. I know one guy who bought a very heavy used camea, and it was truly beautiful. But it takes a taste for finer things to appreciate it.

Realize you are buying a used camera. One that shows lots of use also tells that it worked well for a long time; and it may even have been at Leica in Wetzlar lots of times for adjutments and repairs. A camera thatdoesn't show any signs of use doesn't have the same track record.


The Leaning Tower of Pisa in Italy, May 2016. Leica M9 with Leica 21mm Summilux-M ASPH f/1.4. © 2016 Thorsten Overgaard.


Sensor replacement is of course one of the things you want to check. It's not a problem if the camera hasn't gotten the sensor replaced. It might not need it, or if it does later, it is something Leica Camera AG will do under the warranty. Only problem with having a sensor replaced is that it takes time as the camera has to go to Wetzlar in Germany.


Princess Joy Villa in Berlin, May 2016. Leica M9 with Leica 75mm Summilux-M f/1.4. © 2016 Thorsten Overgaard.


Sensor replacement

Both my Leica M9 cameras had their sensors replaced in April 2015, long before Leica Camera AG went out and officially mentioned that the Leica M9 sensors could suffer from corrosion of the coating on the sensor. They knew, and they dealt with it.

I never saw the corrosion coming, and I never noticed. Actually, till this day I haven’t seen a single picture from anyone’s camera where I see sensor corrosion.


Virtual reality party in Cannes, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


The only way I found out was that a normal cleaning took longer than usual and Leica Camera AG told me it was because they replaced the sensors instead of just cleaning them.

A few weeks later they replaced my Leica MM sensor as well when that camera was in for an adjustment and cleaning. 


A park in Milano, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


In September 2015 the product manager issued an official statement about the sensors. No reason for that really. Leica Camera AG always takes care of faults, like a Lannister always pays his debts.

Some times customers will entertain the world of social media with drama in an attempt to put pressure on a company to replace things for free. A 10 minutes flight delay must be replaced with a whole new holiday; a dusty sensor must cause a camera manufacturer to fire half their staff and sack their CEO. You know the drill.


Volkspark am Weinberg in Berlin, May 2016. Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Thorsten Overgaard.


The drama was uncalled for. Leica was already replacing them. The deeper reason for the quiet replacements was not an attempt to avoid dealing with the problem, but a concern that was much deeper. How to ensure that there would be enough sensors available to deal with the faulty ones. The answer eventually was to develop a new one.


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



Test of the Leica M9 replacement sensor
vs. the old Leica M9 sensor

Leica Camera AG made a new CCD sensor for the Leica M9. The difference between the original one and the new one is almost nonexistent.  Sean Reid of (subscription site of reviews) performed a test of the old original Leica M9 sensor and the replacement sensor Leica Camera AG is now using (since December 2015, I presume).

In essence it is the protective glass in front of the sensor (on which the faulty coating was sitting) they replaced. Sean Reid compares the two through a 8 page test (with plenty of test examples).


Cannes, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Another new sensor

  Leica M9 digital sensor noise
  Leica M9 digital sensor noise. Not in all pictures, but when it appeared, it was always in the sides like this, with the center without noise.

In February 2016 I encountered a new sensor problem I hadn't seen before. First I thought it was my SD-cards that had been unused for too long. I formatted them in camera and with the SD Format software.

But as both SD-cards produced this strange noise in one Leica M9 and not the other Leica M9, the problem obviously had to be isolated to the camra and not the cards.

Leica replaced the sensor and the problem was solved.




Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


The Leica way or no way

The handing of the Leica M9 sensor issue reveals an interesting mindset at Leica Camera AG that may put few things into perspective.

They’re perfectionists, and that is both a good and a bad thing.

If you look over the history of Leica Camera AG, they have always aimed for the most perfect. For example, in the old days – that’s 1981 - at the factory in Canada, legendary lens designer Dr. Mandler as CEO and chief lens designer, decided to get computer-aided lens design of lenses.


The first computers at ELCAN in Canada.


The first system wasn't expensive or complicated, it was a 2D system by Holguin & Associates. As you can imagine, it involved a lot of work to get it implemented, but the Midland factory in Canada had 8 computer working stations. When the Germans in Solms eventually went into computing, they went with a more expensive type of computer for design of lenses, the Medusa CAD system, with just a couple of working stations.


Berlin, May 2016. Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Thorsten Overgaard.


The aim was sky high, as it apparently always is with anything Leica Camera AG deals with, and the result was optimized lens design.  A computer could figure out calculations in minutes that would else take months to do with pen and paper. The computer at Leica in Canada, became the standard, and other companies rented time to do their optical calculations on it. In the long and painful process of getting the best equipment to work the best, they later upgraded to a 3D system, which is still used by Leica in Wetzlar today (CoCreate).

They raised the bar and as they have done in many fields, I might add.


Elcan's MTF Computer EROS IV optical transfer analyzer.


Leica Camera AG also made their own glass laboratory in 1949 to research and develop special types of glass with properties they could see would benefit their lens designs. It became a state of the art laboratory that did things nobody else had ever thought of. Rocket science in the field of handling light.


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


And perhaps as a symptom of the dark side of perfection, that very same glass laboratory was closed in the 1980’s when the cradle was empty.

That was when the Leitz family had to sell. The camera part of Leica was separated from the rest of the Leica group, and moved to a very unattractive facility in Solms a 10 minutes drive from Wetzlar.


The unattractive Leica Camera AG factory the company was relocated to in the 1980's. At least it pales in comparison with the Leica Campus in Wetzlar, the factory returned to in 2015.


The glass laboratory, the crown jewel of optical craftsmanship and ultimate symbol that only the best is good enough for Leica, was terminated early in the struggle for overall survival.

What’s left of the glass laboratory today is the patents and knowledge about glass. Some of the glass types used in the modern lenses such as the Leica 28mm Summilux-M ASPH f/1.4 can only be made by two glass factories in the world and have their heritage back from that very glass laboratory. That’s how critical – or hysterical if you wish – the requirements still are.

The Leica Campus in Wetzlar, May 2016. On the wall is a picture of Seal by Till Bronner. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Another example of how Leica Camera AG just can’t find acceptable what others might think is good enough, is the central shutter in the Leica S lenses. Understand this: When Leica Camera AG decided to develop the Leica S system, they risked the whole business. That’s how heavy the investment was.

Yet, in the midst of the development of this system, they decided that the central shutters used by Hasselblad and virtually every other medium format camera producer just wasn’t good enough for Leica!


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Hence, they put some bright heads onto making their own central shutter, which according to my estimates delayed the Leica S lenses with CS (central shutter) two years. A daring decision to improve a central shutter when the whole company is at stake.

If it is true, it shows that Leica would rather die than make a less than perfect central shutter. And engineer Stefan Uwe Best and others did in fact make the finest central shutter the world has ever seen.

To me, this aim for almost unreal ridiculous perfection (which is often aiming for ultimate simplicity by overcoming steep technical barriers), also explains why it will never be possible to be Leica Camera AG to make cheap cameras for everybody.


Paris, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.

Wouldn’t it be great if every child in the world could afford a Leica?

It certainly would. But what would happen would be this: Leica Camera AG would produce thousand lenses a day in affordable quality, ready for shipping. But then, when the produced lenses would get to the quality control department, the requirement for 100% perfection and extreme narrow tolerances would make it impossible to ship more than a few of the products anyways. The rest would stay in a trash pile behind the factory.

It’s simply not in the DNA of Leica to make something affordable.

It's not as simple as that. It's not just the final quality control. The requirement for perfection actually starts way before the quality control. It starts already in the design and development of new products. As lens designer Peter Karbe reveals in the interview about the 50mm APO, narrowing it down to the simplest construction has always been a goal for Leica. Each element must be perfect.


Paris, May 2016. I met a young boy and his granddad out photographing. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


It’s not that Leica Camera AG is always perfect. I’ve seen Leica cameras where the screws were missing due(s) to what appears to be extremely sloppy quality control. But what is much more likely a symptom of a “perfect organization” that everybody gets so frantic with not making a single error that the fear for making them makes the hands tremble.


The Oscar that CW Sonderoptic won for the Leica Cine lenses in 2015. This one is awarded Andre de Winter for the optometric design of the lenses and is on display in Wetzlar. May 2016.
Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


It may work for many other companies to make lenses or cameras of good quality, but it’s not the way Leica Camera AG is thinking. They always had this almost ridiculous idea that a Leica was something entirely superior and special.

Somehow that is what made it that special. It wouldn’t be a Leica if it weren’t the most perfect you could buy.


Vincent Laine, the young designer of the Leica Q. Wetzlar, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Long history to get to the point I wanted to make: It is not possible for an organization as Leica Camera AG to deliberately oversee an error with (possible) corrosion in the protective coating of the sensor and pretend it doesn’t exist.

Others might have hired a team of marketing people and lawyers to create a workaround so it wasn’t really something covered. After all, most people would agree that a digital camera that is 3-4 years old is history.

But in the case if Leica I am sure a handful of people had to dedicate lot of time to investigate the problem, the possible sources and solutions to it.  

The good news is that even you send in your seven years old digital camera, they will fix it free of charge.


Berlin, May 2016.Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Thorsten Overgaard.


Was ist das?

A walk-through of the Leica M9 body. What are the different Leica M9 buttons and symbols for?

Inside light meter

The three small eyes in the bottom of the inside bayonet read the reflection of light that hits the white and two grey stripes on the shutter curtain through the lens.

Together, the three eyes see an oval of exposure in the center of the frame, about 1/3 of the entire frame. It's an improvement of the first TTL (Through The Lens) light metering introduced on the Leica M6 where it was simply one white dot in the middle and one eye.



Outside light reader

The small eye in the corner above the red Leica logo is something that was added for the digital Leica cameras. It's a light reader.

The only function it has is to measure the outside light and record it so that it is possible later to compare with what the inside lightmeter recorded.

In Lightroom the aperture is then calculated/guessed based on the difference between the two readings.

This is the way to do it with the Leica M9 as there is no coupling between the lens and the camera.

When the aperture is guessed completely wrong in Lightroom, it's usually because this eye was in sun or shadow, and then subject you photographed was in the opposite.


Single or Continious

The C by the shutter release is for Continious and the S is for Single shooring.

The OFF if for camera off. If you leave the camera on for example Continious and have set the Power Off to 2 minutes in the MENU, the camera turn off by itself after two minutes without use (no use of battery when it is off). The camera is turned no again by a light touch of the shutter release.

My camera is generally always in Continious. I only turn it OFF when I travel with it in a bag where the shutter release might be activated by the sides of the bag.


Self timer

The symbol all the way to the left by the shutter release is the self timer. When you select that, the camera fires 2 or 12 seconds after you press the shutter release.
The 2 or 12 seconds is a choice you set in the MENU of the camera. Mine is set to 10 seconds.
A red light next to the viewfinder on front of the camera turns on when the camera releases, in the case you are in front of the camra and would like to know when the picture has been taken.


Shutter time

The white line on the camera body indicates what the shutter wheel is set to. It is not the mark (as in the old days) of where the film plane is.

The red A stands for Aperture Priority but is actually more Auto in my opinion. In that mode, the camera will show the shutter time in the viewfinder (calculated at whichever aperture you have set the lens at).

When you turn away from A, you are in fully manual mode and can choose shutter speed manually from 1/4000 second to 8seconds.

B stands for Bulb mode which is where the shutter stays open for as long as you hold down the shutter release.


Plastic protection

The square piece of plastic by the lens strap is to protect the painted body from scratches from the metal ring/strap.


Focus mechanism

The chrome ring in top of the bayonet inside is pressed in when the focus rign is turned on a lens. This is how the Leica M measures the distance to the subject and match the two images.


Frameline selector

This arm on the front of the Leica M9 can be moved from left, centrer to right. If you look through the viewfinder at the same time, you will see that the framelines inside the viewfinder changes. This is meant as a way to preview which lens you should put on the camera to get the framing you want.

It's one of those things hardly anybody uses but many seem to think must be on a Leica M. So even the Leica M 240 omitted this, you will see it coming and going in Leica M models as a piece of nostalgia.

I do love the look of it - but do not miss it when it's not there.





Frameline Window

The framelines inside the viewfinder shows where the edge of the frame is. The are also some times referred to as brightlines as they are bright. The window in the center of the camera provides the light to light up the framelines.

In later versions, Leica M 240 and onward, the framelines are lit up by LED and this window is not to be found on the camera anymore.


The Rangefinder

The rangefinder on the Leica M is the coorporation between the viewfinder (to the right) and the small rangefinder eye (to the left of the logo) in the picture above.

The rangefinder works very closely, and with exceptional mechanical precision, with the large viewfinder window to the right in the picture above.

When the focusing ring on the lens is turned, the chrome metal wheel inside the camera is pressed, and that chrome metal wheen moveds a prism that mirror what the small rangefinder eye sees.

It is the reflection of that small rangefinder eye you see in the middle of the large rangefinder window. When it lays on top and matches the rest of the image, the image is in focus.

It's 100% mechanical and one of the few wonders of this world that still impress people.

Here is a drawing - seen from the inside/back of the camera that shows how the mechanism works:

Above: The back of the lens pushes the chrome wheel that moves the rangefinder eye (to the right) so the subject is mirrored into the viewfinder (to the left). The result is that the two iamges of the subject matches: You have achieved focus!


6-bit code

On the edge of the Leica M9's bayonet you see a small red see-throgh eye. It reads the 6-bit code of the lens if it has one. All Leica M lenses since 2003 has 6-bit code, and older lenses can be modified by the factory in Wetlar (the engrave it).

The 6-bit code tells the camera which focal length is mounted on the camera. In some cases it can trigger a software adjustment of the lens performance.

The main advantage, in my opinion, is that you can see in the image file which lens you used.

If the lens doesn't have a 6-bit code, you can go into the MENU of the Leica M9 and set the lens model manually. You will often forget to change it when you change lens; and then it's just as confusing having the wrong one as if there was none.

Considering that all Leica M cameras since Leica M8 and all future Leica M cameras use the 6-bit code it's worth the trouble to get all ones older lenses engraved with the 6-bit code.


Bayonet lock and red dot

There is a bayonet un-lock button on the Leica 9 that is pressed to release the lens.

When ypu put on a lens, the red dot on the lens has to be on top of the bayonet lock, then when you turn the lens clockwise it locks.

You can see the lock (with a small red dit) on the bayonet here.


Aperture ring

The front ring on a Leica lens is the aperture adjustment. Each number is a "stop" and most lenses have a click in between the numbers that is a "half stop".

Focus ring

The focus ring has meters in white and feets in orange (some times red).

Depth of Field

The lines and numbers closest to the body shows the depth of field at different aperture stops. Note that for the infitnity symbol (the 8 lying down), the actual infinity distance is in the middle if the 8. So if you wanted to set the lens to f/16 and make sure you got the most in focus, you would put the center of the 8 above the line of 16.


Focus tab

Some Leica lenses has a focus tab that fits a finger so you can easily slide the lens' focus.

Bigger and longer lenses usually don't have the focus tab; mos tlikely because it would be too heave to adjust with a finger and/or because it would be in the way.

I find that I get used to a lens with or without it. After a while you don't think about it.


Aperture blades

If you look into the lens you can easily see the aperture blades that is another way (than the shutter and the ISO speed) to control the exposure.

Aperture means "to open" and each stop reduces the light to half. Most apertures can reduce the light intake from 100% to 1.6% with the aperture.

The more open, the less light you can work with, and the more narrow the focus is. Leica traditionally are low light cameras with lenses that are optimized to be used wide open and still produce contrast and accurate colors.

The more closed it is, the more the foreground and background will be sharp, and you will of course need more light to get the correct exposure. The more you close it, the less important the quality of the lens design is.


SD card

To insert or take out the SD-card in a Leica M9 you take off the metal bottom plate first.

Be careful to turn the SD-card the right way so you don't jam the contacts in the camera. It should slide in very easy when done right, and a gentle press locks it in position. A similar gentle press down unlocks it when you want to take it out.



USB port

The Leica M9 has a small port for USB hidden behind a plastic cover. The sole purpose is if you want to use a cable to download images from the camera to the computer. It serves no other purpose or function.

In later model Leica M 240 and so on there is no USB port anymore.


Red light

There's a little lamp in the down right corner of the back that you don't notice till it lights up bright red.

When it is on, the camera buffer is working on starting up the camera (when you turn it on), or busy storing digital data to the SD card when you just took one or more pictures.


Enlarge, adjust, navigate

the wheen by the thumb on tha back has several functions.

The icon printed on it is an enlargment glass and a plus and minus. When looking at a preview on the screen, turning the wheel right zooms into the picture, turning left zooms out.

When you are in the MENU of the camera, the arrows up and down, left and right, can be used to navigate the menu. The wheel can also be used to scroll up and down the menu.

You can set up the camera MENU so that the wheel also works as exposure adjustment.


Lock mechanism

The bottom plate is securely closed with the stury metal lock. You grab the ring with a nail and then turn counter-cloclwise top open it.

It's a traditional way to open and close a Leica since long time ago when there was real film under the bottom plate.


Inside lock mechanism

When you look at the bottom of the Leica M9 you see this shape that looks likethe shape of a film cassette.

It's not for decoration. When you look at the brass bottom plate, you see that's the space for the lock mechanism.



The little piece of chrome sticking out of the side in the bottom goes into the bottom plate so that it stays there when the bottom plate is locked.


Bottom plate contact

Some times you will see the error message "Bottom cover removed" and wither you forgot to put it on, or it's not properly mounted.

the way the Leica M9 knows is that the small piece of extruded metal on the bottom plate doesn't press down the small contact next to the battery (the little black one; the big white is for releasing the battery).

The camera would work perfectly fine without the bottom plate, except Leica made this contact that prevents it from working without it. Should you find yourself on a mountain top and you lost the bottom plate, you'll have to find a way to keep this small contact pressed to keep using the camera. A piece of chewing gum or similar.


A hole in the bottom

The hole you see in the bottom is to make space for the tripod mount that sits on the bottom plate (to the right in this picture).

In the later Leica M 240 the tripod mount sits on the actual camera body and there is a hole through the bottom plate instead (more stability as the camera and not just the bottom plate is attached to the tripod).


Tripod socket

The tripod socket is on the bottom of the camera, centered in the middle.

Not that I removed the protective plastic of the bottom plate, as well as the sticker that tell all the EC rules the camera complies with. Prettier that way I think.



Serial number and flash shoe

The serial number of a Leica m is engraved on the hotshoe. (On lenses the serial number is usually engraved in white, visible from the front, or some times on the side of the lens barrel).

The hotshoe, or flash shoe, is made so it corresponds with Leica and Metz flashes. It of course works with all flashes, but the Metz and Leica flashes get information from the cameras lightmeter during exposure. It's a continious debate if a Leica M needs a hot shoe or not as so few would use a flash with it. But at least it holds the serial number and - I guess - works as a decoration that reminds us of the old days.

Byt the way it was Leica that invented the hot shoe back when it was used for mounting the first rangefinder, and later a viewfinder, to the camera.


Type number

The lenses often have a number on them. Lens shades and other acessories may also have a number. It is not a serial number but solely which model it is. Some times similar looking lenses may be different model (numbers), indicating sligth or major changes of the mechanical or optical design.



Paul Viio in Cannes, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



Comparison of Leica M8, Leica M9, Leica MM, Leica M 262 and Leica M 240

Model Leica
Type 220
Type 240
Type 240

Nickname           "M10" "M10"   "Henri"
Start 2006 2008 09/2009 06/2011 09/2012 03/2013 11/2014 12/2015 08/2012
End 2009 2009 2012 2012 2015 - - - 2015
MP 10 10 18 18 18 24 24 24 18
Format 18x27 18x27 24x36 24x36 24x36 24x36 24x36 24x36 24x36
AA filter No No No No No No No No No
Video           Yes Yes    
Adapters Leica screw mount Leica screw mount Leica screw mount Leica screw mount Leica screw mount Leica R
Leica R
Leica screw mount Leica screw mount
Shutterless No No No No No No No No No
Mirrorless Yes Yes Yes Yes Yes Yes Yes Yes Yes
Live View No No No No No Yes Yes No No
(Electronic Viewfinder)
No No No No No Extra Extra No No
Framelines           LED
Base ISO 160 160 160 160 160 200 200 200 320
Max ISO 2800 2800 3200 3200 3200 6400 6400 6400 10000
Processor           Maestro Maestro Maestro  
Buffer No No No No No No 2GB 1GB No
Frame selector Yes Yes Yes Yes No No Yes No Yes
USB port Yes Yes Yes Yes No Extra Extra No Yes
GPS           Extra Extra No  
Battery pack No No No No No No No No No
Weather sealed No No No No No Yes Yes Yes No
Weight     580g 600g 585g 680g 680g 580g 585g
Digital color filters for B&W           Built-in Built-in Built-in  
Price $US new 4,800 5,995 7,000 8,000 5,450 7,250 7,250 5,195 7,950
Price Pounds 2,990   4,950 5,395 3,900 5,100 5,100 3,950 6,120
Price Euro     5,000 6,000 4,800 6,200 6,200 5,500 6,800
Second-hand     $2,500 $3,000   $4,000 $5,000   $4,500


Manuel Studer in Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



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Thorsten Overgaard in Berlin, May 2016. Leica M9 with Leica 35mm Summilux-M AA f/1.4. © 2016 Joy Villa.



The Leica M story is to be continued ...

I hope you enjoyed this look back at the previous Leica M models vs the new Leica M 262. There are plenty of pages to read here about the different cameras.

If you want to stay in the loop, sign up for my free newsletter to be the first to know.



Read about the Leica M9-P --- >

Read about the Leica M Monochrom --- >

Read about the Leica M 240 --->



Rome, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.



Leica M9 Definitions


Aperture = The f/ stop on the camera that regulates how much light passes through the lens. On a f/1.4 lens the lens is "fully open" at f/1.4. At f/2.0 the aperture inside the lens make the hole through the lens smaller so only half the amount of light at f/1.4 passes through. For each f/-stop (4.0 - 5.6 - 8.0 - 11 - 16) you halve the light. The aperture of the lens is basically the focal length divided with the f/-stop = size of the hole (50mm divided with f/2.0 = the hole is 25 mm).
ORIGIN: Late Middle English : from Latin apertura, from apert- ‘opened,’ from aperire ‘to open’.

ASPH = stands for "aspheric design". Most lenses have a spherical design - that is, the radius of curvature is constant. These are easy to manufacture by grinding while "spinning" the glass. This design however restricts the number of optical corrections that can be made to the design to render the most realistic image possible. ASPH lenses, however, involve usually 1 element that does *not* have a constant radius of curvature. These elements can be made by 1) expensive manual grinding, 2) molded plastic, or 3) Leica's patented "press" process, where the element is pressed into an aspherical ("non-spherical") shape. This design allows Leica to introduce corrections into compact lens designs that weren't possible before. Practically, the lens performs "better" (up to interpretation) due to increased correction of the image, in a package not significantly bigger than the spherical version. Most Leica ASPH lenses from Leica has 1 or 2 aspherical elements.

Normal speric lens (grinded)   ASPH (note the shape of the glass as result of pressing rather than grinding)

Sphere: ORIGIN Middle English : from Old French espere, from late Latin sphera, earlier sphaera, from Greek sphaira "ball".

Banding = Noise in digital images. Horizontal lines in a horizontal pictures (if the camera is in portrait mode/vertical, the lines will be obviously be vertical). It's simply noise; the result of uncontrolled algorithms working overtime with an image the sensor really can't see because it's very dark. (If your image have vertical lines in it, it is more likely that the sensor needs remapping).

Bokeh = The visual quality of the out-of-focus areas of a photographic image, especially as rendered by a particular lens: It's a matter of taste and usually photographers discuss a 'nice' or 'pleasant' bokeh (the out-of-focus area is always unsharp why the quality discussed is if one likes the way it renders or not by a particular lens). ORIGIN from Japanese 'bo-ke' which mean 'fuzzines' or 'blur.'.

C = Continuous shooting. When the ring by the Shutter Release on top of the camera is moved from OFF to C, the Leica M takes series of images as long as the shutter release is pressed down.

CCD sensor (as used in the Leica M9 and Leica MM).
= Charge-Coupled Device. Historically considered better quality sensors than later technology of CMOS. The question is if improvement of CMOS technology have made CMOS sensors just as good, or better, than CCD.The Leica M9 uses CCD sensor, and at the time of it's launch in 2006, medium format cameras also used CCD sensors (for quality) whereas many dSLR cameras used CMOS (for speed and ecomomy).

CMOS sensor (as used in Leica Q, Leica M 240, Leica X, Leica D-Lux, etc)
= (Complimentary Metal Oxide Semiconductor) chips use transistors at each pixel to move the charge through traditional wires. This offers flexibility because each pixel is treated individually. Traditional manufacturing processes are used to make CMOS. It's the same as creating microchips. Because they're easier to produce, CMOS sensors are cheaper than CCD sensors. CMOS allow Live View and use less energy than CCD.

DNG = Digital Negative, an open standard developed by Adobe. It is a single file that contains the raw image data from the sensor of the camera as well as date, time, GPS, focal length, settings, etc.
The alternative is a RAW file + XLM file where the RAW file contains the image information and the XML contains the rest of information about where, how and when the picture was taken.
A Camera Raw profile (that is specific for that camera) in the computer helps the software program, for example Adobe Lightroom, to translate the RAW data into the image.

  DOF scale ont the Leica Q lens
  DOF scale ont the Leica Q lens

DOF = Depth of Field. This is how much of the image will be in focus. The measurement on top of the Leica Q lens shows lines for each f-stop that indicates from which distance to which distance the image will be sharp. Shallow DOF is a generally used term in photography that refer to lenses with very narrow focus tolerance (which can be used to do selective focus; making irrelevant subjects in the foreground and background blurry so only the subjects of essence are in focus and catches the viewers eye).

EVF = Electronic ViewFinder.

Exposure Bracketing = The possibility to set the camera to automatically record a series of images where the exposure is above and below what the camera measures. The idea is that at least one of the images will be correctly exposed.

  A 28 mm lens has a 74° viewing angle

Focal length = On the Leica Q it is 28mm and originally referred to the distance from the sensor (or film in older days) to the center of focus inside the lens. Nobody uses that measurement, except those who construct lenses! For users of lenses, focal length refers to how wide the lens sees. The viewing angle, which is often given in for example 90° viewing angle for a 21mm lens, 74° viewing angle for a 28mm lens, 6° viewing angle for a 400mm lens, etc.
Each human eye individually has anywhere from a 120° to 200° angle of view, but focus only in the center.

Full Frame (FF) = The size of the sensor is 24 x 36mm which is the format Oskar Barnack and Leica Camera AG invented with the first Leica that was introduced in 1925. Many other formats invented since, such as APS, APS-C and all usually refer to Full Frame ratio, by which it means what size they have compared to Full Frame.

  Full Frame is "king of photography"

The 24 x 36mm Full Frame format is so "king of photography" that it has continued to be the ideal for all cameras. Besides this, there exists Large Format cameras such as 4x5" (100 x 125 mm) and Medium Format 6x6 (60 x 60mm amongst other sizes in that area).

Hue = A color or shade depending on the dominant wavelength of red, green or blue. The word Hue comes from Swedish hy which is "skin complexion". It is independent of intensity, so often (in computer editing programs for example), Hue is an adjustment along Saturation which is (intensity of color as compared to white).

ISO = Light sensitivity of the camera sensor is given in ISO (International Organization for Standardization). It's a standard that was used in film and is now used in all digital cameras also. The base ISO for the Leica Q sensor is 100 ISO which means that this is what the sensor "sees". All other levels are computer algorithms calculating the effect as if the sensor could "see" more (hence noise at higher ISO levels).
ISO goes in steps of doubling: When the ISO is raised from 100 ISO to 200 ISO, the camera only need half the amount of light to make a picture. For each step in ISO to 400, 800, 1600, 3200, etc the light sensitivity is doubled for the sensor (and the camera sensor only need half the light of the previous ISO to record the same image).

JPEG = A standard for picture format made in the 1990's by Joint Photographic Experts Group). Mostly referred to as JPG as in L1003455.JPG which would be the name for a JPG file from the camera.

Summilux = Refers to the maximum lens aperture - normally f1.4 , "-lux" added for "light" (ie. the enhanced light gathering abilities). In the Leica Q the lens is a Summilux even it is a f/1.7 and not f/1.4.

Leica = A compound word derived from " (Lei)tz" and "(ca)mera". Apparently they were originally going to use "LECA", but another camera company already used a similar name in France, so they inserted the 'i' to prevent any confusion.

Lens hood = A tube or ring attached to the front of a camera lens to prevent unwanted light from reaching the lens and sensor. ORIGIN Old English hod; related to Dutch hoed, German Hut 'hat,' also to hat.

LTM = Leica Thread-Mount, also known as M39, the 39mm screw mount that the first Leica lenses had to be mounted onto the camra. It was developed by Oskar Barnack in the 1930's at Leica to provide a system that would allow for the exchange of lenses on their new film cameras. The idea was that other camea manufacturers would use the same mount. It was replaced with the Leica M boyonet that cameras from Leica M3 (1954) and forward uses. All older Leica lenses with the 39mm LTM can be used on new Leica M cameras with a LTM to M adapter.

MACRO = Macro lens. The word macro comes from Greek makros ‘long, large.’ There exist a Leica macro kit for the Leica M9 (a Leica 90mm f/4.0 lens with macro adapter/googles and angle viewfinder).


Leica Q sample photo
The word macro comes from Greek makros ‘long, large. © 2015 Thorsten Overgaard.


Meßsucher (rangefinder or distance finder) = Mess = range, sucher = finder. It is always correctly written with the "ß". There are technically not three "s", rather the "ß" and one "s" because it is a word constructed by the combining of two precise words.

ND = Neutral Density filters are grey filters that functions as 'sunglasses' for lenses. They simply block the light so that a lens can work at for example f/1.7 in sunshine. A 3-stop ND filter is recommend for the Leica Q.

Neutral Density filters
ND (Neutral Density) filters to put in front of lenses to reduce the amount of light that comes in. They don't have any other effect than that and doesn't change contrast, color or anything.


S = Single image. When the ring by the shutter release on top of the Leica Q is moved from OFF to S, the Leica Q takes one photo at the time (Single). The other possibility is Continuous (see above).

SDC = Software Distortion Correction. A correction of lens distortion (not straight lines) applied in the camera and which is part of the DNG file. In Lightroom the SDC of the camrea file can applied automatically based on the lens profile you set in the camera (or the camera reads from the 6-bit code). Sean Reid reviews have written a good article on what SDC is and does in "Software Distortion Correction".

SLR = Abbreviation for Single-Lens Reflex; the lens that forms the image on the film/sensor also provides the image in the viewfinder via a mirror. The Leica Q has no traditional viewfinder and no mirror. the image seen in the EVF is what the sensor sees.

Summilux = Refers to the maximum lens aperture - here f1.4 , "-lux" added for "light" (ie. the enhanced light gathering abilities). In Leica terminology a Summilux is always a f/1.4 lens and a Summicron is a f/2.0 lens. In the Leica Q the lens is f/1.7 but is called a Summilux because it is closer to f/1.4 than f/2.0.

Viewfinder = a device on a camera showing the field of view of the lens.
1) A built-in viewfinder in a camera that simply show the frame you get when you look through the viewfinder.
2) A rangefinder viewfinder which is also used to focus the lens. In Leica M cameras two pictures has to meet and lay 'on top of each other' for the picture to be in focus.
3) An external viewfinder, usually on top of the camera in the flash shoe, so as to show the field of view of lenses wider than what the built-in viewfinder can show (15mm, 21mm, 24mm, 28mm etc viewfinders exist)
4) Very simple "aiming-devices" on top of a camera that is simply a metal frame without any optics. Just a frame, as for example very old cameras (the original Leica), or when using cameras in diving where you can't look through the camera.
5) A Electronic Viewfinder (EVF) that shows what the sensor sees "live".



Hollywood, May 2016. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0. © 2016 Thorsten Overgaard.


Thank you

Haramony Verna
Wallace Stevens
Peter Karbe
André de Winter
Stefan Uwe Best



Index of Thorsten von Overgaard's user review pages covering Leica M9, Leica M9-P, M-E, Leica M10,
Leica M 240, Leica M-D 262, Leica M Monochrom, M 246  as well as Leica Q and Leica SL:

Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 M9-P   Links
Leica M10
Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44         What if?
Leica M-D 262 1 2                        
Leica Monochrom 20 21 22 23 24 25 26 27 28 29
Leica Q 1                            
Leica SL 1 2 3 4 5                               Books
Thorsten Overgaard's Leica Article Index
Leica M cameras:   Leica S:
Leica M10   Leica S1 digital scan camera
Leica M Type 240 and M-P Typ240   Leica S2 digital medium format
Leica M-D Typ 262 and Leica M60   Leica S digital medium format
Leica M Monochrom Typ246 digital rangefinder    
Leica M Monochrom MM digital rangefinder   Leica Cine Lenses:
Leica M9 and Leica M-E digital rangefinder   Leica Cine lenses from CW Sonderoptic
Leica M9-Professional digital rangefinder    
Leica M4 35mm film rangefinder    
Leica M lenses:   Leica SLR cameras:
Leica 21mm Summilux-M ASPH f/1.4   Leica SL 2015 Type 601 mirrorless fullframe
Leica 21mm Leica Super-Elmar-M ASPH f/3.4   Leica R8/R9/DMR film & digital 35mm dSLR cameras
Leica 21mm Super-Angulon-M f/3.4   Leica R10 [cancelled]
Leica 28mm Summilux-M ASPH f/1.4   Leica R4 35mm film SLR
Leica 35mm Summilux-M ASPH FLE f/1.4 and f/1.4 AA   Leica R3 electronic 35mm film SLR
Leica 35mm Summicron-M ASPH f/2.0   Leicaflex SL/SL mot 35mm film SLR
Leica 50mm Noctilux-M ASPH f/0.95    
Leica 50mm Noctilux-M f/1.0 and f/1.2   Leica R lenses:
Leica 50mm Summilux-M ASPH f//1.4   Leica 19mm Elmarit-R f/2.8
Leica 50mm APO-Summicron-M ASPH f/2.0   Leica 35mm Elmarit-R f/2.8
Leitz 50mm Summicron-M f/2.0 "rigid" Series II   Leica 50mm Summicron-R f/2.0
Leica 75mm Summilux-M f/1.4   Leica 60mm Macro-Elmarit f/2.8
Leica 75mm APO-Summicron-M ASPH f/2.0   Leica 80mm Summilux-F f/1.4
Leica 90mm APO-Summicron-M ASPH f/2.0   Leica 90mm Summicron-R f/2.0
Leica 90mm Summarit-M f/2.5   Leica 180mm R lenses
Leica 90mm Elmarit f/2.8   Leica 400mm Telyt-R f/6.8
Leitz 90mm Thambar f/2.2   Leica 35-70mm Vario-Elmarit-R f/2.8
    Leica 35-70mm Vario-Elmarit-R f/4.0
History and overview:   Small Leica cameras:
Leica History   Leica Q full-frame mirrorless
Leica Definitions   Leica Digilux 2 vintage digital rangefinder
Leica Lens Compendium   Leica Digilux 1
Leica Camera Compendium   Leica X
The Solms factory and Leica Wetzlar Campus   Leica Sofort instant camera
    Leica Minilux 35mm film camera
    Leica CM 35mm film camera
Photography Knowledge   Thorsten Overgaard books and education:
Calibrating computer screen for photographers   Thorsten Overgaard Masterclasses & Workshops
Quality of Light   Overgaard Lightroom Survival Kit for Lightroom CC/6
Lightmeters   "Finding the Magic of Light" eBook (English)
Color meters for accurate colors (White Balance)   "Die Magie des Lichts Finden" eBook (German)
White Balance & WhiBal   "Composition in Photography" eBook
Film in Digital Age   "The Moment of Impact in Photography" eBook
Dodge and Burn   "Freedom of Photographic Expression" eBook
All You Need is Love    
How to shoot Rock'n'Roll   "After the Tsunami" Free eBook
X-Rite   The Overgaard New Inspiration Extension Course I
The Origin of Photography   The Overgaard Photography Extension Course
Case in Point    
The Good Stuff  
Hasselblad/Imacon Flextight 35mm and 6x6 scanner   "Magic of Light" Television Channel
Leica OSX folder icons   Thorsten von Overgaard YouTube Channel
Leica Photographers:  
Jan Grarup   Riccis Valladares
Henri Cartier-Bresson   Christopher Tribble
Birgit Krippner   Martin Munkácsi
John Botte   Jose Galhoz
Douglas Herr    
Vivian Maier  
Morten Albek    
Byron Prukston    
The Story Behind That Picture:   Thorsten Overgaard on Instagram
More than 100 articles by Thorsten Overgaard   Join the Thorsten Overgaard Mailing List
Thorsten Overgaard Workshop Schedule   Thorsten Overgaard on Twitter
    Thorsten Overgaard on Facebook
Leica Forums and Blogs:    
Leica M240/M246 User Forum on Facebook   Leica Camera AG
The Leica User Forum   Leica Fotopark
Steve Huff Photos (reviews)   The Leica Pool on Flickr
Erwin Puts (reviews)   Eric Kim (blog) (blog)   Adam Marelli (blog)
Luminous Landscape (reviews)   Jono Slack
Sean Reid Review (reviews)   Shoot Tokyo (blog)
Ken Rockwell (reviews)   Ming Thein (blog)
John Thawley (blog)   I-Shot-It photo competition
The Von Overgaard Gallery Store:    
Hardware for Photography   Von Overgaard Ventilated lens shades:
Software for Photography   Ventilated Shade for Current 35mm Summilux FLE
Signed Prints   Ventilated Shade for older Leica 35mm/1.4 lenses
Mega Size Signed Prints   Ventilated Shade for Leica 50mm Summilux-M ASPH
Mega Size Signed Limited Prints   Ventilated Shade for older 50mm Summilux (coming)
Medium Size Signed Limited Prints   Ventilated Shade for 35mm Summicron-M ASPH
Small Size Signed Limited Prints   Ventilated Shade for older 35mm/f2 lenses
Commisioning Thorsten Overgaard Worldwide   Ventilated Shade for 50mm Summicron lenses
Thorsten Overgaard Archive Licencing   Ventilated Shade for Leica 28mm Summilux
Vintage Prints   Ventilated Shade for current 28mm Elmarti-M
Photography Books by Thorsten Overgaard   Ventilated Shade for older 28mm Elmarti-M
Home School Photography Extension Courses   Ventilated Shade for 75mm Summicron (coming)
Overgaard Workshops & Masterclasses   ventilated Shade for 90mm Summicron (coming)
Artists Nights   Ventilated Shade for 28mm Summaron (coming)
    Ventilated Shade for 24mm Elmarit (coming)
Gallery Store Specials   Ventilated Shade for 50mm Noctilux (coming)



Above: Inside the 17th-century basilica church in Rome, Sant'Andrea delle Fratte. Leica M9 with Leica 50mm APO-Summicron-M ASPH f/2.0 at 800 ISO, 1/60 second. © 2016 Thorsten Overgaard.


Leica logo

LEItz CAmera = LEICA
Founded 1849 in Wetzlar, Germany.

Latest Leica M9 & Leica M-P 9 Firmware update from Leica Camera AG

Latest Leica ME Firmware update from Leica Camera AG

Latest Leica M Type 240 Firmware
update from Leica Camera AG

Latest Leica M-P Type 240 Firmware update from Leica Camera AG

Latest Leica M Type 262 Firmware
update from Leica Camera AG

Latest Leica M-D Type 262 Firmware update from Leica Camera AG

Latest Adobe Camera Raw software for Leica M 262 and Leica M-D 262.



Thorsten Overgaard in London by Ray Kachatorian.





Also visit:

Overgaard Photography Workshops
Von Overgaard Gallery Store
Von Overgaard Ventilated Shades
Thorsten Overgaard Books
Leica Definitions
Leica History
"Photographer For Sale"
Leica Lens Compendium
Leica Camera Compendium
Leica 21mm Super-Elmar-M ASPH f/3.4
Leica 21mm Summilux-M ASPH f/1.4

Leica 28mm Summilux-M ASPH f/1.4
Leica 35mm Summilux-M ASPH f/1.4
Leica 35mm Summicron-M ASPH f/2.0
Leica 50mm Noctilux-M ASPH f/0.95
Leica 50mm APO-Summicron-M f/2.0
Leica 50mm Summicron-M f/2.0
Leica 50mm Summilux-M ASPH f/1.4
Leica 75mm Summilux-M f/1.4
Leica 90mm Summicron-M ASPH f/2.0
Leica 35-70mm Vario-Elmarit-R f/2.8
Leica Cine lenses from CW Sonderoptic
Leica Digilux 2

Leica M9, M9-P and Leica ME
Leica M 240
Leica M 240 Video
Leica M 262
Leica M-D 262
Leica M Monochrom
Leica M 246 Monochrom

Leica SL full-frame mirrorless
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Leica Sofort
Leica S digital medium format
Leica X
Leica R9 and R8 SLR with digital back
"On The Road With von Overgaard"
Light metering
White Balance for More Beauty
Color Meters

Screen Calibration
Lightroom Survival Kit
The Story Behind That Picture



Thorsten Overgaard
Thorsten von Overgaard is a Danish writer and photographer, specializing in portrait photography and documentary photography, known for writings about photography and as an educator. Some photos are available as signed editions via galleries or online. For specific photography needs, contact Thorsten Overgaard via e-mail.

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Leica M-D 262 Masterclass with Thorsten von Overgaard

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