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Leica Definitions
    Leica Definitions [a work in progress]

By: Thorsten Overgaard


a) 35mm lens is a lens that has a viewing angle of view is 63°vertically, 54° horizontally and 38° vertically within a 35mm film frame:
b) 35mm film format is a standard film format where the actual widt of the film is 35mm. In photography the frame within the widt of the film is 24mm (on the width) and 36mm (on the lenght of the film roll). 35mm was first used in 1892 by William Dickson and Thomas Edison for moving pictures with frames of 24 x 18mm, using film stock supplied by George Eastman (Kodak), and became the international standard for motion picture negative film in 1909 [later other formats came about such as Academy Ratio (22 x 16 mm), Widescreen (21.95 x 18.6 mm), Super 35 (24.89 x 18.66 mm) and Techiscope (22 x 9.47 mm)].
Oskar Barnack built his prototype Ur-Leica in 1913 as a device to test film stock and/or motion picture lenses and had it patented, but Ernst Leitz did not decide to produce it before 1924.
c) 35mm is often given as a comparison when talking about lenses in small cameras or cameras with other sensor/film format than the 24 x 36mm frame. The camera has a smaller sensor and hence uses a wider lens to capture the same image as a "35mm camera" would. Example: A camera with a 12 x 18 mm sensor has a 14mm lens on it, and even the lens is actually a 14mm, it is specified as a 28mm lens (35mm) which means that the resulting image is equivalent to a 28mm lens on a 35mm camera.

a 50mm lens is a lens that has a viewing angle of view is 47° vertically, 40° horizontally and 27° vertically within a 35mm film frame.
b) 50mm lens is often compared to the human eye. Not because of viewing angle but because of size ratio. The 50mm lens is the lens that comes closest to the size that the human eye see things (whereas the human eye has a much wider angle of view [120-200°] than the 50mm lens [47°], thought a more narrow focus (your eyes may observe very wide but your focus is on a limited view within that angle of view).

anastigmat an anastigmatic lens system.

anastigmatic (of a lens system) constructed so that the astigmatism of each element is canceled out.
ORIGIN late 19th cent.: from an- 1 [not] + astigmatic (see astigmatism):

astigmatism a defect in the eye or in a lens caused by a deviation from spherical curvature, which results in distorted images, as light rays are prevented from meeting at a common focus.
DERIVATIVES astigmatic. ORIGIN mid 19th cent.: from a-- [without] + Greek stigma 'point' + -ism.

AOV - angle of view
Is the angle a lens 'see'. A 35mm lens has a 54° angle of view horizontally. Each human eye individually has anywhere from a 120-200° angle of viewn ags.

stands for "apochromatically corrected". In most lenses, optical design concentrates the focus of blue light and green light into a single plane, but red light falls slightly into another plane of focus. Red subjects, therefore, would be ever so slightly out of focus compared to blue and green subjects in the same frame. Not sure you'd ever notice though, the difference is so slight. This is the same basic principle that requires you to shift the focus for infrared photography, related to the wave length of red light. In APO lenses, the design and expense has been put in to making red light focus on the same plane as blue and green. Under a microscope you would see that all light subject is now in focus, creating a sharper image overall. Many manufacturers offer APO designs, but in most of these only the very center of the lens is APO corrected. Leica prides itself on making most of the frame APO correct.
If one look at the images produced by the APO lenses (Leica 90mm APO-Summicron-M ASPH f/2.0, the Leica 50mm APO-Summicron-M ASPH, and the Leica 50mm Summilux-M ASPH f/1.4 that is in fact APO-corrected), one will notice that the colors are really bright and alive, almost more real than to the eye.
Apochromat; ORIGIN early 20th century, made of the two words;
apo: Greek origin, away from
chromatic (Latin origin, meaing relating to color.

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/-step you halve the light.
The aperture is basically the focal length divided with the f/-stop = size of the hole (90mm divided with f/2.0 = the hole is 45 mm).
ORIGIN late Middle English : from Latin apertura, from apert- ‘opened,’ from aperire ‘to open.’

… 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, 3) Leica's patented "press" process, where the element is pressed into an aspherical ("non-spherical") shape. This design allows the manufacturer 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.

There is another Aspherical lens manufacture technique: an uneven coating layer is applied to a spherical lens. The coating is thicker on the edges (or on the center, depending). Canon "Lens Work II" calls these "simulated" aspherical lenses. Simulated and Glass-Molded (GMo) asphericals show up in non-L Canon lenses, while the L lenses have actual ground aspheric elements.

sphere: ORIGIN Middle English : from Old French espere, from late Latin sphera, earlier sphaera, from Greek sphaira ‘ball.’

Beam Splitter
Describes the way light travels when it enters the R series Leica SLR bodies when viewing and composing. The light beam is split into two - one part goes through the semi-silvered mirror to the light meter at the base of the mirror box, the rest is reflected upwards through the pentaprism to the viewfinder.
It is because of this "beam splitting" that you have to use Circular Polarizing filters on R cameras in order to obtain correct light meter readings. With regular linear pol. filters, phase cancellation effects occur when the light travels through the mirror, resulting in inaccurate and unpredictable readings.


  Barrie Gledden
  Bokeh of a Leica 50mm Noctilux-M ASPH f/0.95. British composer and producer Barrie Gledden.
© 2013 Thorsten Overgaard.

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.'.

CCD sensor (as used in Leica M8, M9, Leica S)
(Charged Coupling Devices) - The first digital cameras used CCD to turn images from analog light signals into digital pixels. They're made through a special manufacturing process that allows the conversion to take place in the chip without distortion. This creates high quality sensors that produce excellent images. But, because they require special manufacturing, they are more expensive than their newer CMOS counter parts.

CMOS sensor (as used in Leica M 240, Leica X, Leica D-Lux)
(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.

Curently no origin known. Leica I Compur camera (1926-1941) and Leica Summicron (II) Compur 50mm f2.0 lens (1959).

An acronym for "(C)lean, (L)ubricate & (A)djust", whereby the item is merely re-lubricated, fine-adjusted and calibrated rather than repaired. "I just got my equipment back from CLA at Leica"

Central Shutter, as in the Leica S lenses for the Leica S2 where a shutter is located in the lens itself.

DOF (Depth of Field)
How big a distance in an image that is acceptable sharp. The DOF is determined by the subject distance (the farther away, the larger area is sharp; the closer the focus is, the less of the lage is sharp), the lens aperture (the depth of field is narrow at f/1.4 and larger at f/5.6) and the focal length of the lens (tele lenses has very narrow depth of field whereas wide angle lenses has a wide depth of field) and film or sensor size (small-sensor cameras has a wide depth of field wheras medium format or large format cameras has a very narrow depth of field).
The DOF is usually indicated on the lens by the focus barrel where one can see how large the DOF will be at different f/-stops for that lens.
As an example, a Leica 21mm Super-Angulon-M f/3.4 lens is sharp all over the focus field from 2 meter to infinity when set at a distance of 3 meters at f/3.4.

Ernst Leitz Canada, established 1952, was and still is the military/industrial branch of the old "Ernst Leitz Canada". In 1998, the ELCAN plant was sold to Raytheon (USA), who bought it from its previous owner, Hughes Aircraft Co.
Elcan-R is also the name of s series of lenses made in the 1960ies and early 1970ies, as the U.S. Navy High Resolution Small Format Camera System during the Viet Nam war.

Leitz slide copier used to dublicate slides if one for example had to make several sets of a slideshow.

Refers to the maximum lens aperture - here f3.5 . Historically derived from the original 1925 50mm f3.5 Elmax lens, which was an acronym of (E)rnst (L)ieca and Professor (Max) Berek, designer of the original lenses. Later that year the 50mm f3.5 Elmar superceded the Elmax, which was discontinued due to its complexity and high cost of manufacture.

Refers to the maximum lens aperture - here f2.8 . The name is obviously derived from the earlier (and slower) "Elmar" designation. Not every f2.8 lens is called an "Elmarit" though, the most obvious current exception being the 50mm f2.8 Elmar-M collapsible lens which for nostalgia and marketing reasons has kept the original 1930's Elmar name (the 50mm f3.5 collapsible Elmar, manufactured 1930-59, was one of Leica's most famous and popular lenses).

Elmax = E. Leitz + Max Berak. Ernst Leitz was the founder of Ernst Leitz Optical Industry which later became Leica. Professor Dr. Max Berak was employed at Leica in 1912 and was the architech of the first Leica lens which Ernst Leitz asked him to design for the "Barnack's camera" (the 1913-prototype named after Oscar Barnack who invented it). The lens was a f/3.5 50mm and was known as the Leitz Anstigmat and later the Elmax.

the ratio of the focal length (for example 50mm) of a camera lens to the diameter of the aperture being used for a particular shot. (e.g., f8, indicating that the focal length is eight times the diameter: 50mm/8 = 6,25 mm).
ORIGIN early 20th cent.: from f (denoting the focal length) and number

One f-stop is a doubling or halving of the light going through the lens to the film, by adjusting the aperture riing. Adjusting the f-setting from f 1.4 to f.2.0 is halving the light that goes through the lens. Most Leica lenses has half f-stops to enable the photographer to adjust the light more precicely.

Focal length
The distance between the nodal point of a lens and the focal plane (the film or sensor in the camera). That is the construction definition based on simple lens systems where a 400mm lens would be 400mm long and a 50mm lens would be 50mm long. Today one call it effective focal length (EFL) as a 400mm lens is not nessesarily 400mm long due to optical constructions that can make it shorter. The 35-420mm zoom on the Leica V-Lux 1 is for example only ca. 135 mm long.
For photographers it's more interesting that focal length indicates if it is a wideangle lens (ex. 35mm), normal lens (50mm) or tele lens (ex. 400mm).
A 35mm lens is a ca. 54° viewing angle horizontal, a 400mm lens is ca. 5° viewing angle horizontal, etc. This is the practical, usable information about focal lengths a photographer can use.

Four Thirds
The Four Thirds System is a standard created by Olympus and Kodak for digital SLR camera design and development.
The system provides a standard which, with digital cameras and lenses available from multiple manufacturers, allows for the interchange of lenses and bodies from different manufacturers. Companies developing 4:3 cameras and/or lenses are Fuji, Kodak, Leica, Olympus, Panasonic, Sanyo, Sigma. See
A further development in this was Micro Four Thirds Systems.

FF (Full Frame)
In sensors full frame usually refers to sensors the size of a full 24x36mm frame where one capture the same frame size as with 35mm film. The "full frame" technically deifinition thouhg is a sensor that camtures the full frame in one go (as the early sensors as in Leica S1 scanned the image/senor over a period of time).

Refers to the maximum lens aperture - usually f2.5 . The name was apparently taken from the name of Leitz' lens designer Professor Max Berek's dog( Hektor. He also had another favorite dog, Rex, which inspired the lens name Summarex.

Sub-manufacturer of lenses. Has made certain lenses for Leitz, Carl Zeiss, etc.

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 confustion.

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

Live View
This is the ability to see the image the sensor see, live, via the screen of a digital camera, or a electronic viewfinder (EVF).

(as in "M3", "M6", "M7" etc.)
A) The M originally stands for "Messsucher", which is German "Meßsucher" for "Rangefinder". The "3" in M3 was chosen because of the three bright line finders for the 50, 90 and 135 mm lenses. Later the numbers of the M cameras were more or less chosen to follow each other.
M-body evolution in chronologic order:
M3 - MP - M2 - M1 - MD - MDA - M4 - M5 - CL - MD-2 - M4-2 - M4-P - M6 - M6 TTL - M7 - MP - M8 - M8.2 - M9 - M9-P - MM - ME (Type 220) - Leica M (Type 240) - Mini-M
B) M also refer to M-mount as the M bayonet that couple the Leica M lenses to the Leica M camera. Before the M bayonet the coupling between the camera and lens was screwmount.
C) M nowadays refer to the Leica M line of cameras rather than the "Messucher".

Mandler, Dr. Walter (1922 - 2005)
Legendary Leica lens designer. Read more in Leica History.

Viewfinder. 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.

MF (Medium Format), as in the Leica S System

Stands (also) for Mechanical Perfection.


ND-Filrers. Neutral Density. Photo © Thorsten Overgaard
ND-filters / gray-filters.

Neutral Density filters are grey filters function as 'sunglasses' for lenses. They simply block the light so that a lens can work at for example f/0.95 or f/2.0 in sunshine.
If a camera is set to 200 ISO and the maximum shutter speed is 1/4.000, this will usually result that the lens has to be at f/2.8 or smaller aperture in sunshine. Else the image will over-exposed. So in order til stay within the maximum shutter speed of 1/4.000 and still use a lightstrong lens wide open, one mount a ND-filter that reduce the light with 3 stops (8X) or 6 stops (64x).
For video ND-filters are used quite a lot (as the shutter speed for video is 1/60), and ND-filters are also used to reduce the light for really long multi-exposures at night (stop-motion video and stills).
ND-filters also exist as variable ND-filters so one can adjust the amount of light going through from for example 1 stop (2X) to 6 stops (64X).
ND-filters also exist as graduated ND-filters where the top of the filter is dark and then gradually tone over in no filter (so as to reduce the skylight in a landscape for example).
The ND filters are called Neutral because it is a neutral filter. It doesn't change colors, only the amount of light.

The nick-name for the 90mm f/2.5 Leica lens in the 30s when it first came out.

Refers to the maximum lens aperture - here f1.0 . "Nocti" for nocturnal (occurring or happening at night; ORIGIN late 15th cent.: from late Latin nocturnalis, from Latin nocturnus ‘of the night,’ from nox, noct- ‘night.), "lux" for light. The Leica Noctilux 50mm f1.0 is famous for enabling the photographer to take photos even there is only candleligts to lit the scene. See the article "Noctilux - King of the Night"

Number, on this site Leica catalog numbers or order numbers. Some the numbers changed depending on the number of cams in the lens: The Elmarit-R f2.8/135mm started life as No. 11 111, however when fitted with 2 cams for the SL became No. 11 211, yet another No. for the 3 cams lens and a fourth number for 3 cam only at the end of its life. Number changes also applied to M lenses depending on whether they were screw-thread, bayonet or for M3 with “spectacles”. Thus the No. in the Thorsten Overgaard Leica Lens Compendium list is a guideline but not a comlete list of existing catalog numbers.



  Visoflex II /Visoflex III adapter (produced 1959-1983 as part no. 16466

Visoflex II /Visoflex III adapter (produced 1959-1983 as part no. 16466) for lens heads:
F = 12.5 cm 1:2.5 Hektor - EF = 1.3 x
Elmar f= 13.5 cm 1:4.5 - EF = 1.2 x
Hektor f= 13.5 cm 1:4.5 - EF = 1.2 x
F = 20 cm 1:4 Telyt - EF = 1.3 x
F = 20 cm 1:4.5 Telyt - EF = 1.2 x
1:4.8 / 280 Telyt I - EF = 1.1 x
1:4.8 / 280 Telyt II - EF = 1.3 x
F = 40 cm 1:5 Telyt I - EF = 1 x
F = 40 cm 1:5 Telyt II - EF = 1 x
1:6.8 / 400 Telyt - EF = 1.5 x
1:6.8 / 560 Telyt - EF = 1.5 x

Leitz Oufro part no 16469

Oufro (model 16469Y)
An original Leitz Extension Ring (produced 1959-1983 as part no. 16469). Used with Oubio for all the longer (125mm+) Visoflex lenses and without OUBIO for 35/50mm. OUFRO can be stacked for greater magnification and will work on the Leica M Type 240 as macro for all lenses (including the Noctilux, 90mm APO-Summicron and even 21mm lenses).

Sports Range Finder (1933) to mount in the hotshoe for the camera that shoved the frame for 35mm, 50mm, 73mm and 90mm. Was usef for example for photographing race cars where one would frame the car as it came, usually with a 90mm lens.

The OUFTO on Leica M Type 240
The OUFTO on Leica M Type 240 with Leica 90mm APO-Summicron-M ASPH f/2.0.

(R)ange (F)inder - the mechano-optical mechanism which allows M Leicas to focus.
Alternative meaning - RF is also shorthand for Hexar RF , Konica's motorised "M-lens-compatible" rangefinder camera released in 2000.

Shoulder Stock
A Leitz mechanism attached to the (tele-) lens and held against one's shoulder when photographing, so as to stabilize the tele lens when using handheld without a tripod or monopod. The shoulder stock is attached to the lens same way as a tripod or monopod.

abbreviation for
Single-Lens Reflex; the lens that forms the image on the film also provides the image in the viewfinder via a mirror.

  Leitz Wetzlar Mikro-Summar 42mm
  Leitz Wetzlar Mikro-Summar 42mm f4.5 lens anno 1910 might be the first lens carrying the name Summar.

Summar - (or a story of name development)
The 1933 lens 50mm f2.0 Summar: It started out as Summar (f2.0), then the Summitar (f2.0 in 1939), then the Summarex (f1.5 in 1948), then the Summaron (35mm f.2.8 in 1948, then later f2.0, f3.5 and f5.6 lenses), then the Summarit (f1.5 in 1949 and used again for the 40mm f2.4 on the Leica Minilux in 1995, then again for the 35mm, 50mm, 75mm and 90mm Summarit f2.5 in 2007) then the Summicron (f2.0 in 1953 for the collabsible 50mm) and finally the Summilux (50mm f1.4 in 1959).
ORIGIN of Summar is unknown.

The great thing about being a lens designer is that you get to name the lens. Dr. Max Berek who worked for Leitz from 1912 till his death in 1949 named lenses after his two favorite dogs. One was Sumamrex named after his dog Rex (the other Hektor named after his dog Hektor).

Refers to the maximum lens aperture - here f1.5 .

Refers to the maximum lens aperture - here f2.0 . There are many guesses how this name came about, a popular one eing that the "summi" came from "summit" (summit means the highest point of a hill or mountain; the highest attainable level of achievement) while the "cron" came from "chroma" (ie. for colour). Not so: The name (Summi)cron was used because the lens used Crown glass for the first time, which Leitz bought from Chance Brothers in England. The first batch of lenses were named Summikron (Crown = Krone in Deutsch). The Summi(cron) is a development from the orignal Summar (the 50mm f2.0 lens anno 1933)

Refers to the maximum lens aperture - here f1.4 , "-lux" added for "light" (ie. the enhanced light gathering abilities).

Lens nomenclature - short-hand for " telephoto " (tele- is a combining form, meaning to or at a distance and used in names of instruments for operating over long distances : telemeter.
ORIGIN: from Greek t?le- ‘far off.’

rapid-focus device from Leitz that was made from 1966 through 1973, in both R and VisoflexIt was originally designed for use with the 400mm f5.6 Telyt and 560mm f5.6 Telyt. Beginning in 1970 (with serial 2340953) the Televit could also be used with the 280mm f4.8 Telyt-V by using adapter 14138.

Origin of name currently unknown. Leitz Thambar 90mm f.2.2. At most about 3000 were made, probably in eight batches, starting with 226xxx (actually built in 1934) and going through 283xxx, 311xxx, 375xxx, 416xxx, 472xxx, 511xxx, and 540xxx (about 1939/1940).
Today they are staggeringly rare and extremely expensive: you would be lucky to get away with much less than $1500 for the lens without accessories (center spot, shade, cap), and you could easily pay twice that for a good, complete example with clean glass.
Known to be a legendary soft-focus portrait lens that 'make a woman look 10 years younger.' A glass filter with a black spot in the middle, about 13mm (1/2”) in diameter cuts out the central (sharpest) part of the image and makes everything even softer.
(Source: Roger W. Hicks)
Here are some advice from a Thambar user, Theodor Heinrichsohn, who have used it mainly for portraits using an Leica M5 and Leica M6:
1. The results are more or less unpredictable. Best practice is to shoot many times and pick the one you like best.
2. Shots against the light are generally more effective than with the light behind you.
3. The most pleasing results to my taste were with center filter at medium apertures. With luck portraits took on the "dreamy" look that the lens is famous for.
4. I never used the Thambar for anything except portraits.
The lens has been rumored to be slightly radioactive due to the process of producing the glass.
Here are some sample photos of Koichiro Itamura Photography.
Here are some more sample images from Blue Penguin.

Thick / Thin
The first 90mm Elmar that came out in 1930 was called "Thick" of "Fat" when the smaller "Thin" Elmar came out in January 1933.

(T)hrough (T)he (L)ens light metering, usually WRT the flash metering capabilities built into the R6.2, R8, R9, M7 & M6TTL cameras.

The black rubberized, textured material used to cover Leica camera bodies prior to the 1980s. It actually was made of vulcanised rubber (hence the name) and was and remains much loved by professionals because of its solid, sure grip (see [ this topic ])

- a device on a camera showing the field of view of the lens, used in framing and focusing the picture. In Leica two pictures has to meet and lay 'on top of each other' for the picture to be in focus.

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 vider 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.

A device mounted between the Leica M camera and a lens, containing a mirror mechanism like in a SLR camera, thus allowing the M user to 'preview' a picture using a tele lens larger than 135mm which is the maximum covered by the framelines in the Leica viewfinder.

Courtesy of Oxford American, Justin Scott


Left: Leica R8 w/DMR with 35-70mm  Vario-Elmarit-R ASPH f/2.8
Right: Laica R9 w/motor with 35-70mm Vario-Elmar-R ASPH f/4.0

Leica logo

LEItz CAmera = LEICA
Founded 1849 in Wetzlar, Germany.


Also visit:

Overgaard Photography Workshops
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 75mm Summilux-M f/1.4
Leica 90mm Summicron-M ASPH f/2.0
Leica 35-70mm Vario-Elmarit-R f/2.8
Leica Digilux 2
Leica Q
Leica M9, M9-P and Leica ME
Leica M Monochrom
Leica M 246 Monochrom

Leica M 240
Leica M 240 Video
Leica X

Leica R with digital back
Leica S medium format dSLR
"On The Road With von Overgaard"
Light metering
White Balance for More Beauty
The Story Behind That Picture


Photo seminars Berlin Copenhagen and Hong Kong


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.

  · © copyright 1996-2015 · Thorsten Overgaard · Hong Kong · New York · Denmark · Tel (+45) 4011 2996


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