Your browser does not support script Thorsten Overgaard's Leica Photography Pages - Leica M9 Digital Rangefinder Camera - Page 16: "Black and white photography with the Leica M9 - video tutorial"
Thorsten von Overgaard's Photography Website
  Get Newsletter & Free eBook  

Leica M9 digital rangefinder camera - Page 16
Subscribe for full access. It's free.           thorstenovergaard on Instagram Thosten von Overgaard on Facebook Thorsten von Overgaard on Twitter Thorsten von Overgaard on LinkedIn Thorsten von Overgaard on Flickr Thorsten Overgaard on YouTube Thorsten Overgaard video on Vimeo Thorsten von Overgaard on Leica Fotopark Thorsten von Overgaard on 500px    
Leica M9 Digital Rangefinder Camera - Page 16
Catherine Kubillus

Leica M9 Digital Rangefinder Camera - Page 16

Index of Thorsten Overgaard's user review pages on Leica M9, Leica M9-P, Leica M-E, Leica M9 Monochrom, Leica M10, Leica M10-P, Leica M10-D, Leica M10-R, Leica M10 Monohcrom, Leica M11, Leica M 240, Leica M-D 262, Leica M Monochrom 246, Leica SL, Leica SL2, Leica SL2-S, as well as Leica TL2, Leica CL, Leica Q, Leica Q2 and Leica Q2 Monochrom:
Leica Digital Camera Reviews by Thorsten Overgaard
Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20   M9-P
M9 Mono 20 21 22 23 24 25      

M 246 Mono 26 27 28 29

Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44            
Leica M-D 262 1 2                                        
Leica M10
1 2 3 4 5 6 7 8                         Video
Leica M11 1 2 3   5                                
Leica SL / SL2 1   3   5 6 7                              
Leica Q 1                                          
Leica Q2 / Q2M 1                                          
Leica Q3 1                                          
Leica TL2 1 2                                        
Leica CL 1 2                                       Books


Black & white photography with the Leica M9 - video tutorial

By: Thorsten Overgaard



In this part of the Leica M9 article I will go over how to get the look of B&W in Lightroom without any plugins or use of Photoshop. I really don't have a preference whether color or black & white photography is the best. I know that the producers of Woody Allen movies are relieved whenever he does a movie in color. And I know that if I submit black & white photos to Getty Images, the editors will add to the caption "This image has been digitally altered". So generally speaking, in the world at large, people prefer to see the world in colors.


Los Angeles


I think it is going to stay that way. Unlike 3D where I think you can get a good deal on a used 105" 3D flatscreen in a few years.

Black & white does have it's charm, as well as an audience. Maybe the correct analogy is acoustic music compared to electric. Both nice, but for different things, and electrical happens to be the best selling. It's not long ago that all newspaper photos were in black and white, and only a few more years since all magazine photos were in black and white. And some times, even it is possible to print full color, we decide to stay with black and white. For example, who could imagine shooting jazz musicians in color?

A question often asked is if it is easier to shoot in black & white than in color. I think it is partly irrelevant if one is harder than the other. It is two different mindsets in that color is necessary for some things (editorial photography in our time) and you don't really have a choice. Hence you set out to get the best under those conditions. And taking black & white photographs requires that you can think in black & white and grey tones, and preview what would work as a photo.


Leica M9 with 50mm Summicron-M f/2.0. Fitzroy Square in London, September 2011.


Photographing color raw and B&W JPG on the Leica M9 at the same time

The interesting thing with the Leica M9 is that you can set the camera up to take color DNG (raw) files and black & white JPG Fine at the same time. Hence, when you view your photos in Lightroom you can see both the color and the black & white edition side-by-side.


How to set up color and B&W workflow side by side on Leica M9 and in Adobe Lightroom:
  Leica M9: Set Compression to DNG+JPG Fine in the SET menu, then Color Saturation to Black & White in the MENU. Now the Leica M9 saves color raw and B&W JPG Fine of the same image to the card.
  Adobe Lightroom: Choose the menu Lightroom > Preferences > General: Check the "Treat JPEG files next to raw".
Now Lightroom will show the color raw and B&W JPG Fine next to each other for future imports (if you want it to show this for previous imported photos, you drag and drop the relevant folder into LR and it will now import the JPG files that it omitted on the original import. It did import and and save them to the folder, but it didn't show them as previews (If you shoot other camera systems you may learn that they produce a JPG to do a preview on the camea's screen (in color), and Lightroom doesn't expect that you would want that JPG imported as the natural thing would be to work on the raw file).
In Aperture you can do the same, but be aware that in Aperture you must decide if you want to use the raw or JPG as master, or show both. You want both, of course, but if you shoot color, you should make sure it is the raw that is master, not the JPG.





Which is the best? I guess it depends what's happening in the image, and what you are using it for. But mainly it's your choice. Fitzroy Square in London, Leica M9 with 50mm Summicron-M f/2.0.


What that will teach you is that some pictures are ruined by a blue banner in the background taking all the attention, or ruined by a mix of awful colors, or that the light conditions offered different color temperatures why the person is orange on one side of the face and cold blue on the other. In those cases, when you look at the black and white edition, that edition will be peaceful without the disturbing colors.


British actor Michael Koltes preparing for our shoot in the London rain


In other cases, the color edition simply tells the story better, or is what is required by popular demand, by clients or by editors. A sunset in black & white may or may not look better than in color.


Photography is about choices

Again we are back at a very important thing in photography: That it is all about choice. From the moment you have to decide if you are going to bring the camera with you or not, which lens to put onto the camera, is what you see over there a picture or not a picture (shoot it and decide later!), and finally in the edit – and here it is all about choice - is this a photo or not? Should I crop it this way or that way? Should it be color or black and white?


Catherine Kubillus
Singer-songwriter Catherine Kubillus. Leica M9 with 50mm Summicron-M f/2.0, with sun behind the trees in the background, and a reflector from the front (natural lens flare).



“Art is making something out of nothing, and selling it.”

  – Frank Zappa  



The great - and unusual - thing is that it is all up to you. You decide from the beginning to the end what you want to do and what you want to finalize into a final photo (when I talk about final photo I'm talking about an image file you decide to make into a final edited photo for later use. That is a final photo).
In this day and age where the majority of people commute to work at eight and return after four, eat at dinnertime and watch the news to see what to think about it all, go to sleep at bedtime, it is unusual to engage in something where you decide everything and can basically make nothing into something without having to ask somebody or vote about it (no wonder the anti-terror laws are after photographers!).

Hence, the question whether color is harder than B&W or which is the better look, is irrelevant. Nobody knows the right answer. You make it.


Alex Lake of Los Angeles. Leica M9 with 50mm Summicron-M f/2.0, 160 ISO using a silver reflector.


For me, it's a mindset. Some times when I work in black & white and I then start looking at some of the color photos, the colors give me a shock. At other times, the black & white seems dull and dead compared to the color versions. But more interestingly, I will stay in one mindset for a time period. When I travel from city to city I might do a whole city in black & white because that's the mindset I was in, and it doesn't work mixing the black & white with the color images. Then the next day, it is all color. And some days and some subjects, it works mixing color photos and black & white in the same series.



Buy the new eBook
"A Little Book on Photography"
by Thorsten von Overgaard


A Little Book on Photography by Thorsten von Overgaard eBook

Order now - Instant delivery.

More info

★ ★ ★ ★ ★ ★


It's a humorous understatement to call this
new eBook by Thorsten Overgaard for
"A Little Book on Photography".
It's a grand book, a history lesson, life experience, a biography and poetry book and brilliant photo book!
All in one beautiful package of 180 pages
to fire you up and get you to love
photography ... unconditionally!

"A Little Book on Photography"
eBook for computer, Kindle and iPad.
New release March 2017.
Intro price only $47 - 180 pages.


Buy Now

Add to Cart

Instant Delivery


View Cart








School boy in Hong Kong. Leica M9 with 50mm Summicron-M f/2.0


Video tutorial: Editing black & white photographs from the Leica M9 in Lightroom 3.6

To give an idea how I edit B&W photos in Adobe Lightroom I recorded this editing session of three photos in QuickTime screen capture. I may do more videos later, but if you want more on editing images, deciding which to use and which not and all, check out the Overgaard Lightroom Survival Kit which contain those along with a checklist on how to set up a workflow that works.



Why I don't use presets for black and white

When used properly, Lightroom offers what is necessary to obtain "your look" of black & white images. It might take a while to get there, but so does the look you want of color images, and actually every camera.

I have played around a bit with NIK presets in the past where you can get the look of Kodak or Ilford film. However, one thing is that your Leica M9 is not a film camera but a camera of the new digital age. But mainly I find that those are "effect filters" and not really your personal expression. I have met very few - actually nobody - who consistently used plugins or presets. It tend to be like an app for the iPhone that is fun for a while, but then you want a new one.


Catherine Kubillus
Singer-songwriter Catherine Kubillus. Leica M9 with 50mm Summicron-M f/2.0.


And what I am looking for in my photographs is a consistent look that is mine, not a new one. I think what I like and what I am looking for, is something that has a pleasant tonality - something that might resemble silver prints from the darkroom - or something that I consider "real black & white."


The Lightroom Survival Kit


Now, aesthetics does change. What we once considered being a cool color of a computer (beige in 1985) is no longer cool. The same goes for colors of cars, shapes of things and all. And so it would be logical that the digital age changes our view on what a nice tonality or what nice colors are.


Hong Kong, Leica M9 with 50mm Summicon-M f/2.0, 160 ISO.


Leica Galerie Salzburg


Kodachrome as the ideal look

It might be of interest to know that the Leica M9 and Leica M9-P, as well as the Kodak-Leica developed CCD-sensors for Leica M8 and Leica R9/DMR digital back, were developed with Kodachrome slide film as the ideal color look.


Los Angeles, California. Leica M9 with 90mm Summarit-M f/2.5, 80 ISO


Whether you agree or not that this is the ideal look, I think it is a comforting thought to know that Leica did have an idea and an ideal to work towards when they had to choose a look. Thing is, every sensor on the market has a look, just like any film and photographic paper had one. And it is better that somebody point to an aesthetic standard rather than leaving it to coincidence what the colors might be in the hunt for higher ISO and more megapixels.


Los Angeles, California. Leica M9 with 90mm Summarit-M f/2.5, 80 ISO.


Whether anybody ever develop a black & white sensor of the digital age that will outperform the black and white films we have known and used is an interesting thought.

After all, since the first glass plates with chemicals applied to them acted as recording devices for light, the film development has been a never-ending race to get more accurate colors, more tones, less grains (or "noise") and faster speed.  Always faster, and that is what ruins the colors and tonality; till somebody figures out a way to bend natural laws further. Upon which we want more speed on expence of color quality.


Hong Kong, Lecia  M9 with 50mm Summilux-M ASPH f/1.4 at 160 ISO.


Digital photography has been going through the exact same process, from awful inconsistent colors and slow speeds to more and more speed, more and more accurate colors.

But for black & white, no digital sensor has really taken over from the black and white film and continued that development to new heights.

What we do have are sensors made for color images, and the Leica M9 happens to offer a black & white look that is quite interesting and will perform quite well compared to any currently known standard.


  Buy my "New Inspiration Extension Course"

The Overgaard New Inspiration Course

Need more info?
Read this article.


Get inspired and rebooted!

This extension course if made for you! It can be done at home and travel at your own pace. I have taught workshops for years and the Overgaard New Inspiration Extension Course is my experience compressed to a package of training, articles, drills, assignments and video tutorials that will inspire you and take your photography to the next level! For a limited time my course includes something you cannot get anywhere or anytime else:
A portfolio-review by Thorsten Overgaard

  "The Overgaard
New Inspiration
Extension Course"
For computer and iPad. 181 p eBook.
  Only $798  
  Add to Cart  
  View Cart  
Order now - Instant delivery.



Childrens playground in Brooklyn, New York. Leica M9 with 50mm Summicron-M f/2.0, ISO 80.


My black & white editing in Lightroom 3.6

First of all, my way of dealing with black & white photos has simply developed from I started using Lightroom 2.5 for this, and to my knowledge there hasn't been any technological development in camera profile or Lightroom itself that has changed the look.

As a side note, I know that Frank Jackson shoots film which he then scans, cleans in Photoshop for dust and then imports in Lightroom where he adjusts them as you would adjust any digital file, and uses a preset for printing them in what he considers a better output than what he was able to do in the darkroom.


New York, Leica M9 with 50mm Summicron-M f/2.0, 80 ISO.


The tools I use for (both color and) black & white are the ones in the upper right corner of Lightroom. You should play around with them and see what they do so as to get the full conceptual understanding of which controls to touch to achieve the look you envision.

I think the look one envision is based on one's experiences doing stuff, coupled with things you have seen before and things you see inbetween. It's a learning process as well as a development of an aesthetic expression.

I remember some images I saw at the Guggenheim in New York back in 1996 as a reference point for the kind of grey tonality I like to refer to as "silver print". But if I think about it, I don't think those images looked like what I remember, if I revisited them. Instead I think I have built a mental pre-vision of how a black and white photograph should look.


Outside the ACE HOTEL on Manhattan, New York. Leica M9 with 50mm Summicron-M f/2.0, ISO 80.


The tools for black and white in Lightroom

These are the few tools you need to use in Lightroom in the Develop mode. Despite all the menus and sections, these are the ones you use. You can fine tune these tools and the area of their effect with the rulers, but I don't. Everything in my Lightroom is standard, including sharpness. My only adjustments are the ones I do on the few Basic treatments available. Thus I can use any Lightroom installation and achieve the look I want:


  Exposure   Adjust the overall exposure   I use this to correct acutal over- or underexposure.  
  Recovery   Recovers highlight details and some details in middle-grey areas.   I almost always use this as it gains back details, it's like increasing the dynamic range of the sensor. I hardly ever go above +30 as it tend to look un-natural.  
  Fill Light   This works like a reflector sending light into the shadows.   Fill Light and Blacks should work in pair so that you Fill Light to gain a lot of shadow details; then Blacks to get back that contrast you lost by using Fill Light.  
  Blacks   This make the shadow areas (darkest areas and black) more black    
  Brightness   Especially midtones are made brighter with this, but the overall look will be "harder" and more contrasty with this compared to Exposure.   Brightness and Contrast should work in pair so that you increase brightness which wash out the image; then you get back contrast by using Contrast.
Often you may reduce Exposure so as to leave space to increase Brightness; because these two as a pair basically does the same as Exposure but adds contrast, definition and "bang" to the image.
  Contrast   Increases contrast by making the difference between shadows and bright tones bigger (increasing black and decreasing brighter tones)    


To get a grip of what each Treatment above does to the image you should open a black & white image in Lightroom and play with each of them and notice what they do to highlight, midtone, shadow and the overall look. The ideal is that you can pre-vision the potential look of an image when you see it the first time, and then use the rulers to get there.

Thought I tend to do somewhat the same with each picture, there are degrees of adjustment in all the above for each image. And how each is used has to do with what the other controls do. Hence I wouldn't even consider developing a standard adjustment for all my images. It wouldn't work in optimizing each individual image to become the best it could be.


Barista in the Intelligencia espresso bar in Silver Lake, Los Angeles. Leica M9 with 50mm Summicron-M f/2.0, 800 ISO.


If you want to "industialize your workflow" a bit and apply the same adjustments you just did to a similar image, it's much better taking the one you just made, Copy (the button in the down left corner of Lightroom) those adjustments, then Paste (the button next to Copy) them onto the next similar image. That will give you a starting point for a similar image with less work; some times all the adjustments you need.

Lightroom is a workflow tool. It's about getting the desired look as fast and painless as possible. But each image you choose to make into a final image should be an individual pre-vision of what is possible, and then an adjustment towards that.


A note on 80 ISO PULL, 160 ISO, 800 ISO and 2500 ISO

The Leica M9 offers a 80 ISO PULL an whilst I for a long time thought this was just one step in ISO, like the difference between 200 ISO and 400 ISO, I learned some months ago that the 80 ISO actually take 3 stops of dynamic range (on each side) why it is more destructive to the detail of the image than 800 ISO.


This is a 80 ISO PULL phtotograph that was overexposed and where I had to gain back as much greytones as possible. It would have been much easier if I had shot 160 ISO. Leica M9 with 50mm Summicron-M f/2.0 at 80 ISO, 1/2000. Melrose, Los Angeles.


As 80 ISO is that you would usually use in conditions with sunshine and strong light, this is a very bad idea - as those situations are where you usually deal with very high contrast (bright highlights and dark shadows). So the proper way to go about with this is to get a ND filter (Neutral Density filter; a grey filter that take 2, 3 or 6 stops of light out of the image by simply making it darker). This will enable you to shoot at 160 ISO in sunshine.
In the most typical sunshine, an f/2.0 lens will require a 1/8000 shutter time at 160 ISO, an f/1.4 lens will require a 1/16000 shutter time, a f/1.0 Noctilux lens will require a shutter time of 1/32000. Hence, you will need a 3 stop ND filter for a Noctilux to shoot sunshine at 1/4000 at 160 ISO. And 3 or 2 stop ND filter for the Summilux f/1.4 and Summicron f/2.0.



The proper ND-filter for the Leica Noctilux
You may go darker, for example 6 stop ND filter, on the Noctilux, but the beauty of the 3-stop ND-filter on the Noctilux is that you will be able to shoot even indoor with it (by going up in ISO, to 800 ISO if you need it) without removing the filter. So you put on the filter when the sun goes up and takes it off when the sun goes down. This way you don't have to take the filter off when you want to shoot inside during the day.


ISO 2500 may work for black and white
Where I never go above 800 ISO for color photos, I may consider 2500 ISO for black & white. The reason I never go above 800 ISO is because I want to be able to use every image I do. And when you go above 800 ISO it might work, it might not. Some times skin tones and other becomes really dirty and odd, and then it can't be used (if you have a commercial client who asked for color photos). So, for me, it's better staying at 800 ISO and try to have more steady hands and simply shoot more to get one that is good. Hence it's not that often I will go 2500 ISO to gain more speed. But I sometimes do.

Also, the noise level (and control of correct colors in pretending a 160 ISO sensor can really see in the dark) lies in the Lightroom software and camera profile. So future updates will improve the quality, both on the photos you take in the future with that software; but it will also enable you to re-work your older raw files.


Berlin, December 2011. The workshop is out for a German lunch. Leica M9 with 21mm Super-Elmarit-M f/3.4


Lightroom does a better job than Aperture (cross your fingers)

Leica and Adobe work together in that you get a free Lightroom license with the Leica M9 and Leica M9-P (and most Leica cameras in fact), so they share information so that Adobe can develop the best possible camera profiles.

On a few occasions we have discussed which is best. Controls are named differently, but to some large degree you should be able to do the same adjustments. I asked around some months ago, and had a number of photographers who told me they had changed from Aperture to Lightroom because of quality in mainly black and white.


Shanghai, November 2011. Leica M9 with 50mm Summicron-M f/2.0, 150 ISO.


I mention this because that is as far as I am going to research that subject. I really don't care what other software can do if what I use works for me, unless I hear of something that is fantastic. Then I will try it, and if it works better, I would stay with it. So as a starting point, the Lightroom offered with Leica is a good bet.

In retrospective, Apple makes great stuff that works, and Adobe has a long history in graphic design and imagery. For me it does make sense that Adobe should have more knowledge than many others in how to deal with imagery.


The Fitzroy Dairy café in London. Leica M9 with 50mm Summicron-M f/2.0, 80 ISO.


Supporting this site

  On the streets of Hong Kong with Younes Kabbaj. Photo by Brian Loo of Singapore.

I don't offer the possibility for donations. This webpage mainly exists because I like to preserve things and share knowledge. The website was started and has been maintained because I genuinely love to talk about this.

It's my website, and you're my guest.

And I believe one should always just do what one feels like - then later one will find out why it was such a good idea (if that is even important), and how to get some food on the table. That's how all great music, books and great inventions were ever made. Nothing great ever started with a business plan; it always starts with an urge to help somebody doing something better. Passion!

I make my living as a photographer and writer and by teaching photography seminars and workshops all over the world. Those activities are what keep me alive and sponsor my lavish lifestyle. I believe in something for something, and as long as the website is visited and a few of the visitors find it interesting to hire me to photograph, fly me in for personal tutoring, buy my extension courses, hang my art prints on their walls or participate in seminars and workshops - then it all make sense.

So be my guest and feel free to share and comment.



It's tough, but somebody has to do it. On the photo it's Winston Chua of the Philippines being taught never to have a lens cap on the lens. In the background Anton Candra of Indonesia. Photo by Mike M-Theory Liang on the Hong Kong seminar, November 2011.


    Continues on Page 17 --->


– Thorsten Overgaard, December 23, 2011
Updated April 8, 2015
(Thanks to Mark Gonnerman for help with spellinz corrections!)


Index of Thorsten Overgaard's user review pages on Leica M9, Leica M9-P, Leica M-E, Leica M9 Monochrom, Leica M10, Leica M10-P, Leica M10-D, Leica M10-R, Leica M10 Monohcrom, Leica M11, Leica M 240, Leica M-D 262, Leica M Monochrom 246, Leica SL, Leica SL2, Leica SL2-S, as well as Leica TL2, Leica CL, Leica Q, Leica Q2 and Leica Q2 Monochrom:
Leica Digital Camera Reviews by Thorsten Overgaard
Leica M9 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20   M9-P
M9 Mono 20 21 22 23 24 25      

M 246 Mono 26 27 28 29

Leica M 240
P 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44            
Leica M-D 262 1 2                                        
Leica M10
1 2 3 4 5 6 7 8                         Video
Leica M11 1 2 3   5                                
Leica SL / SL2 1   3   5 6 7                              
Leica Q 1                                          
Leica Q2 / Q2M 1                                          
Leica Q3 1                                          
Leica TL2 1 2                                        
Leica CL 1 2                                       Books

Thorsten von Overgaard
Thorsten Overgaard's Leica Article Index
Leica M digital cameras:   Leica L digital cameras:
Leica M11   Leica SL
Leica M10   Leica SL2
Leica M10-P   Leica SL2-S
Leica M10-R   Panasonic Lumix S5 II X
Leica M10-D   Panasonic Lumix S1R
Leica M10 Monochrom   Leica TL2
Leica M9 and Leica M-E   Leica CL
Leica M9-P   Leica L-Mount lenses
Leica M9 Monochrom   Leica R digital cameras:
Leica M240   Leica R8/R9/DMR
Leica M246 Monochrom   Small Leica mirrorless digital cameras:
Leica MD-262 and Leica M60   Leica D-Lux
    Leica C-Lux
Leica M film cameras:   Leica V-Lux
Leica M6   Leica Q2 / Leica Q2 Monochrom
Leica M4   Leica Q
    Leica Digilux 3
Leica M lenses:   Leica Digilux 2
Leica 21mm Summilux-M ASPH f/1.4   Leica Digilux 1
Leica 21mm Leica Super-Elmar-M ASPH f/3.4   Leica Digilux
Leica 21mm Super-Angulon-M f/3.4   Leica R film cameras:
Leica 28mm Summilux-M ASPH f/1.4   Leica R8 / R9
Leica 35mm Summilux-M ASPH FLE f/1.4 and f/1.4 AA   Leica R4
Leica 35mm Summicron-M ASPH f/2.0   Leica R3 electronic
Leica 35mm APO-Summicron-M ASPH f/2.0   Leicaflex SL / SLmot
Leica 50mm Noctilux-M ASPH f/0.95 FLE   Leica compact film cameras:
Leica 50mm Noctilux-M f/1.0   Leica Minilux 35mm film camera
Leica 50mm Noctilux-M f/1.2   Leica CM 35mm film camera
7artisans 50mm f/1.1   Leica R lenses:
Leica 50mm Summilux-M ASPH f//1.4   Leica 19mm Elmarit-R f/2.8
Leica 50mm Summicron-M f/2.0 "rigid" Series II   Leica 35mm Elmarit-R f/2.8
Leica 50mm APO-Summicron-M ASPH f/2.0   Leica 50mm Summicron-R f/2.0
Leica 50mm Elmar-M f/2.8 collapsible   Leica 60mm Macro-Elmarit f/2.8
Leica 75mm Noctilux-M ASPH f/1.25   Leica 80mm Summilux-R f/1.4
7artisans 75mm f/1.25   Leica 90mm Summicron-R f/2.0
Leica 75mm Summilux-M f/1.4   Leica 180mm R lenses
Leica 90mm Summilux-M ASPH f/1.5   Leica 250mm Telyt-R f/4.0
Leica 90mm APO-Summicron-M ASPH f/2.0   Leica 400mm Telyt-R f/6.8
Leica 90mm Summarit-M f/2.5   Leica 35-70mm Vario-Elmarit-R f/2.8
Leica 90mm Elmarit f/2.8   Leica 35-70mm Vario-Elmarit-R f/4.0
Leitz 90mm Thambar f/2.2   Leica S digital medium format:
Leitz Cine lenses:   Leica S1 digital scan camera
Leica Cine lenses from Leitz Cine Wetzlar   Leica S2
    Leica S
History and overview:   Sony mirrorless digital cameras:
Leica History and Heritage   Sony A7
Famous Leica Usears   Fujifilm mirorrless digital cameras:
Leica Definitions   Fujifilm X-Pro 2
Leica Lens Compendium    
Leica Camera Compendium   "Magic of Light" 4K Television Channel
The Solms factory and Leica Wetzlar Campus   Thorsten von Overgaard YouTube Channel
Photography Knowledge    
Calibrating computer screen for photographers   Thorsten Overgaard books and education:
Which Computer for Photographers?   Thorsten Overgaard Masterclasses & Workshops
What is Copyright? Advice for Photogarphers   Lightroom Survival Kit (Classic)
Synchronizing Large Photo Archive with iPhone   Lightroom Presets by Overgaard
Quality of Light   Lightroom Brushes by Overgaard
Lightmeters   Capture One Software
Color meters for accurate colors (White Balance)   Capture One Survival Kit
White Balance & WhiBal   "Finding the Magic of Light" eBook (English)
Film in Digital Age   "Die Magie des Lichts Finden" eBook (German)
Dodge and Burn   "The Moment of Impact in Photography" eBook
All You Need is Love   "Freedom of Photographic Expression" eBook
How to shoot Rock'n'Roll   "Composition in Photography" eBook
X-Rite   "A Little Book on Photography" eBook
The Origin of Photography   "After the Tsunami" Free eBook
Hasselblad/Imacon Flextight 35mm and 6x6 scanner   The Overgaard New Inspiration Extension Course I
    The Overgaard Photography Extension Course
    "Why do I Photograph?"
Leica Photographers:    
Henri Cartier-Bresson   Riccis Valladares
Rodney Smith   Christoåpher Tribble
Birgit Krippner   Martin Munkácsi
John Botte   Jose Galhoz
Douglas Herr   Milan Swolf
Vivian Maier   Jan Grarup
Morten Albek    
Byron Prukston   Richard Avedon
The Story Behind That Picture:   Learn with Thorsten Overgaard:
More than 250 articles by Thorsten Overgaard   Leica M9 Masterclass (video course)
Thorsten Overgaard Workshop Schedule   Leica M10 Masterclass (video course)
    Leica M240 Masterclass (video course)
Leica Forums and Blogs:   Leica Q Masterclass (video course)
Leica M11 / M240 / M10 User Forum on Facebook   Leica Q2 Masterclass (video course)
Jono Slack   Leica TL2 Quick Start (video course)
Sean Reid Review (reviews)   Street Photography Masterclass (video course)
Heinz Richter's Leica Barnack Berek Blog   Adobe Photoshop Editing Masterclass
    The Photoraphers Workflow Masterclass
    Adobe Lightroom Survival Kit 11
    Capture One Survival Kit 22
    Thorsten von Overgaard Academy Online
    Thorsten von Overgaard Free Online Masterclass
Connect with Thorsten Overgaard:   Overgaard Workshops & Masterclasses
Thorsten Overgaard on Instagram   Overgaard One-on-One Training
Join the Thorsten Overgaard Mailing List   Thorsten Overgaard Archive Licencing
Thorsten Overgaard on Facebook   Commision Thorsten Overgaard
The Von Overgaard Gallery Store:   Von Overgaard Ventilated lens shades:
Ventilated Shades "Always Wear A Camera"   Ventilated Shade for Current 35mm Summilux FLE
Camera Straps "Always Wear A Camera"   Ventilated Shade E46 for old Leica 35mm/1.4 lens
The Von M Camera Bag   Ventilated Shade for Leica 50mm Summilux-M ASPH
The Von L Camera Bag   Ventilated Shade E43 for older 50mm Summilux
The Von Mini Messenger Walkabout Camera Bag   Ventilated Shade for 35mm Summicron-M ASPH
Desk Blotters 'Always Wear A Camera"   Ventilated Shade for older 35mm/f2 lenses
Sterling Silver Necklace   Ventilated Shade E39 for 50mm Summicron lenses
Software for Photography   Ventilated Shade for Leica 28mm Summilux
Signed Thorsten Overgaard Gallery Prints   Ventilated Shade for current 28mm Elmarit-M
Computer Shade for MacBook Pro   Ventilated Shade for older 28mm Elmarti-M
Video Masterclasses   Ventilated Shade E49 for 75mm Summicron
Photography Books by Thorsten Overgaard   ventilated Shade E55 for 90mm Summicron
Home School Photography Extension Courses   Ventilated Shade for 28mm Summaron
    Ventilated Shade for 24mm Elmarit
    Ventilated Shade E60 for 50mm Noctilux and 75/1.4
Gallery Store Specials   Ventilated Shade for Leica Q and Leica Q2



Above: British singer-songwriter Catherine Kubillus for her single release on January 30, 2012 of BOY. Leica M9 with Leica 50mm Summicron-M f/2-0 with the use of a 100 cm silk screen and 100 cm gold reflector.


Latest Leica M9 firmware


An iPhone Hipstermatic print from behin dthe scene of the above photo.



Leica reviews by Thorsten Overgaard. LEICA = LEItz CAmera. Founded 1849 in Wetzlar, Germany. Leica logo in photo by Thorsten Overgaard

LEItz CAmera = LEICA
Founded 1849 in Wetzlar, Germany.

Quick links:


Video tutorial:
Editing black & white photographs from the Leica M9 in Lightroom






Also visit:

Overgaard Photography Workshops
Books by Thorsten Overgaard
Street Photography Masterclass Video
Adobe Photoshop Editing Masterclass
Adobe Lightroom Survival Kit 11
Lightroom Presets by Overgaard
Lightroom Brushes by Overgaard
Capture One Software download
Capture One Survival Kit 22

Capture One Styles by Overgaard
Signed Original Prints by von Overgaard

Von Overgaard Gallery Store
Ventilated Shades by Overgaaard
Leather Camera Straps
Camea Bags
Calfskin Camera Pouches
Leather Writing Pads
Sterling Silver Camera Necklace

Leica Definitions
Leica History
Leica Lens Compendium
Leica Camera Compendium
Leica 21mm Super-Elmar-M ASPH f/3.4
Leica 21mm Super-Angulon 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 35mm APO-Summicron-M f/2.0

Leica 40mm Summicron-C 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
7artisans 50mm f/1.1
Leica 75mm Summilux-M f/1.4
Leica 75mm Noctilux-M ASPH f/1.25
7artisans 75mm f/1.25
Leica 90mm Summicron-M ASPH f/2.0
Leica 90mm Summilux f/1.5
Leica 35-70mm Vario-Elmarit-R f/2.8
Leitz Cine lenses
Leica L lenses

Leica M6

Leica M11
Leica M10
Leica M10-P

Leica M10-R
Leica M10-D
Leica M10 Monochrom
Leica M9, M9-P and Leica ME
Leica M9 Monochrom
Leica M 240
Leica M 240 for video
Leica M 262
Leica M-D 262

Leica M 246 Monochrom

Leica SL
Leica SL2
Leica SL2-S

Panasonic Lumix S1R
Leica R9 dSLR
Leica Q
Leica Q2
Leica Q2 Monochrom
Leica CL
Leica TL2
Leica Sofort
Leica S digital medium format
Leica X
Leica D-Lux

Leica C-Lux

Leica V-Lux

Leica Digilux

Leica Digilux 1

Leica Digilux 2
Leica Digilux Zoom

Leica Digilux 4.3

Leica Digilux 3

Light metering
White Balance for More Beauty
Color Meters

Screen Calibration
Which computer to get
Sync'ing photo archive to iPhone
The Story Behind That Picture
"On The Road With von Overgaard"

Von Overgaard Masterclasses:
M10 / M9 / M240 / Q / Q2 / TL2 /




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.

Feel free to e-mail to for
advice, ideas or improvements.





Thorsten Overgaard photo workshops and masterclasses for Leica photographers and digital photographers

Thorsten Overgaard photo workshops and masterclasses for Leica photographers and digital photographers







  · Copyright 1996-2023 · Thorsten von Overgaard


© 1996 - 2023 Thorsten Overgaard. All rights reserved.


Web Analytics