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Leica M Type 240 Digital Rangefinder Camera - Page 30
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Leica M Digital Rangefinder Camera - Leica M Type 240 (Leica M10)
 
Joy Villa as Jumi Hendrix by © 2013 Thorsten Overgaard
   
 
   

Leica M Type 240 Digital Rangefinder Camera - Page 30

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 20   M9-P
Leica M10
V 1 2 3 4 5                             M10-P
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
A
29
B
29
C
29
D
               
Leica Q 1 Leica Q2: 1   Leica TL2: 1 2              
Leica SL 1 2 3 4 5 6 Leica CL: 1 2             Books

By: Thorsten Overgaard. June 1, 2013, Updated June 25, 2019.

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The Leica M Type 240 Experience - Three Months and 9,000 pictures later

 

     
 

A Leica camera revisits its path

June 23, 2019:

The Leica M240 is being re-launched in what is called a "limited run of 750 cameras", as a Leica M-E 240.

It's the Leica M240, but now in a grey-silvery version and with a 2GB buffer (as known form the M-P 240 version). The genius about this, is the price of just $3,995, making it the cheapest Leica digital camera to be launched in a long time (forever, actually). The Leica M240 silver is still available, with basicalluy the same specifications (less the 2GB buffer), but for $5,995.00..!

The genius about the re-launch of the Leica M-E 240 is the price of just $3,995, making it the cheapest Leica digital camera to be launched in a long time (forever, actually).
The genius about the re-launch of the Leica M-E 240 is the price of just $3,995, making it the cheapest Leica digital camera to be launched in a long time (forever, actually).

 
     

 

 

It was a Friday afternoon on March 1, 2013 and the sun was shining in Denmark. "In a way I have no rush to get the Leica M Type 240," I said to my friends and family in the kitchen where we were sitting.

"I just want to take pictures. The Leica M9 and Leica M Monochrom work so well. When I get the Leica M 240 I will have to learn how to get it to work," I said.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Robin Isabella von Overgaard in Paris, May 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

But then as a reverse nemesis, 10 minutes later the phone rang. In the other end was Leica Shop Vienna. In broken English he cheerfully announced that they hadn't gotten the camera yet but had gotten the invoice for it. That usually meant they would get the camera in a day or two.

I happened to have my Leica M reserved since Photokina in September 2012 and paid for in full at Leica Shop Vienna since December 22, 2012. A sort of Christmas gift to myself, as things turned out. I hadn't thought that paying in advance would ensure me the first delivery. But in retrospect, of course it would (you may want to take a note for future purchases).

 

Leica M Type 240 sample test photo 800 ISO
Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95 @ f/5.6. 800 ISO, 4 seconds. Link to zip-file with original DNG. © 2013 Thorsten Overgaard.

 

In the present moment, probably less than 500 Leica M Type 240s are actually out and about being used. Back in January 2013 when I had visited Leica Camera AG and product manager Stefan Daniel happened to be about, I asked him out of personal interest, when I should expect the Leica M to start rolling out? He said end of March or in April.

Now Leica Store Vienna was on the phone. This was a month or two too early. I hadn't planned this, I wanted to get it later. But now that I could get it, I wanted it. Rather frantic I asked if he had both silver and black. As if my prayers had been heard his next sentence would save me for further trouble deciding: "We have a black one and a black one."

 

         
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"I'll take it black then," I replied. "It doesn't matter which one, I'm not so sensitive. Just pick the one with the best serial number."

I'm sure the others in the room who overheard the conversation and observed the change from the calm laid-back von Overgaard not needing a new camera had fun seeing the now 10 minutes later von Overgaard shining like a child before Santa Claus comes down the chimney.

I think I am not wrong if I say that most of us enjoy waiting for new Leica lenses and cameras. Some times waiting is simpler and more fun than actually getting it. Also, waiting doesn't cost anything.

But when the waiting is over, that is also a great moment...

 

 

Foundation for creation
Some days later I had the camera in my hands. I hardly could believe the serial number I had gotten, 4444550. I asked a woman that believes in numbers, and she said 4444 meant foundation of creation. I know my Asian friends would say something else so i didn't ask them (not having a 4th floor, a 14th floor, a 24th floor in their buildings I wouldn't like their answer anyway).

Now, three months wiser, I can say that the camera has been more foundation for creation than any other possible meanings of that serial number.

 

 

 

"I think it is not so much about what the camera can do,
but what you can do with the camera."

- Thorsten Overgaard on the Leica M Type 240

 

Leica M Type 240 with Leica M9, Leica M Monochrom, Leica Digilux 2 and Leica M4
Leica M Type 240 meets the family. Leica M Type 240 in the front (with Leica 50mm Noctilux-M ASPH f/0.95), Leica M9 with Leica 35mm Summilux-M ASPH f/1.4, Leica M Monochrom with Leica 50mm Summicron-M f/2.0, Leica M9 with Leica 90mm APO-Summicron-M ASPH f/2.0, Leica Digilux 2 and in the far back, Leica M4 with Leica 21mm Super-Angulon-M f/3.4.

 

Enjoy other articles on the Leica M 240:

This is a continious user-report by Thorsten Overgaard. See more articles here and make sure to join the mailing list to stay in the know.

     
Page 42 in the article series on the Leica M
Color photograhy and the Leica M
  Page 42 in the article series on the Leica M
Focusing the Leica M - Five pages about that...
     

 

 

 

In the tradition of simplicity and perfection

If the camera controls what you see, then how do you make the camera see what you see?

I have said it before, and will state it again. The first Leica was the right one. Hence no reason to make it different.

And how so?

The first Leica had a new extremely compact size compared to the big wooden cameras used at that time, it featured the 35mm film format (made by taking the roll film used for motion pictures with 24 x 18mm frames and making the frames twice the size, 24 x 36mm), three simple controls to control the light (ISO, aperture and shutter), and it had compact great lenses.

History has told us that these were all winning qualities. Despite experiments and great marketing campaigns over the last 100 years to introduce new and smarter film formats, "full frame" is still the king and refers to exactly the 24x36mm frame that Leica Camera used in the first Leica.

  Oscar Barnack selfportrait ca. 1914
 
Oscar Barnack self portrait ca. 1914
   

When Dr. Andreas Kaufmann bought Leica Camera AG some years ago, the company took a turn back to the core qualities of Leica, but a step forward in technology. Short time before Andreas Kaufmann bought Leica Camera AG the management had declared in interviews how film was superior to digital.

Kaufmann was obviously of another opinion. The core quality of the Leica was not that it used film, but the above mentioned. Recording light can be done both with film and digital.

Add to that another important feature that characterizes a Leica camera, and one which has become more obvious as time has gone by. That is the simplicity. It's still a very simple tool for painting with light. The perfect tool for the artist to create his vision without being interrupted by the tool.

With the return to the Leica core qualities, for a long while, people will still stop you on the street and say "wow, you still shoot with film" or ask "is that your grandfather's camera?" ... which in so many ways is the best compliment a Leica M Type 240 user can get, in my opinion.

The significance of the core Leica qualities means simplicity in operating - focusing on the main controls a camera should have to control light, and not so many other buttons, as exemplified on every Leica M camera since the beginning: Shutter, aperture and ISO is the only light controls and are located on the outside of the camera. As a side note, this return to core qualities is further exemplified in the latest Leica D-Lux 6 that, despite it is a consumer camera developed with Panasonic, now features a lightstrong f/1.4 lens with an aperture ring on the lens it self (instead of in the menu settings).

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Berlin, May 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95

 

         
 

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Making each element perfect, and as few elements as possible

Turning back to the core Leica qualities also means making it as close to perfect as possible. Exemplified in the Leica 50mm APO-Summicron-M ASPH f/2.0 lens that Leica knew they could do, but as late as 2006 stated would never come into production because not enough people would be prepared to pay the price.

They changed their mind - or the market did - and the lens went into production in 2013. I shall get back to that lens later in the Leica 50mm APO-Summicron-M ASPH f/2.0 article, along with an interview with Peter Karbe. But one of the things Peter Karbe told me was that the core Leica Camera philosophy since Oscar Barnack, has been to make each element perfect.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Berlin, May 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

It is a very interesting philosophy when we talk lenses, cameras, and for that matter, any product. The philosophy, when applied to a lens, means that the goal is to make each piece of glass in the lens so perfect that the other elements do not have to correct the previous element. This also implies that the less elements, the better, whereas the 'trend' is that you add new elements to correct the first ones, then others to correct those ones. As for example - in my opinion - in having lens correction software for Hasselblad lenses and using software tools for sharpening. Why not just make the lens perfect itself?

Or even worse is the philosophy of shooting raw and fixing everything in the computer. Why not just take a perfect image in the camera and let go of the extra work?

In the Leica 50mm APO-Summicron-M ASPH f/2.0 the main quality, in my opinion, is that there seem to be no lens. You simply get the scenery in front of you, without alterations, without anything missing. As a great microphone would do: Capture exactly what is there without adding or changing anything.

If we go back to the Leica M Type 240 camera, then that philosophy in theory should have been applied to this camera.

And the relevant question then is, did they?

In few words, yes, I think so. The newly added features such as video and electronic viewfinder and the R-to-M lens adapter make it seem as the Leica M has become more complicated. Which is true if you try to adopt it all at once. So you should not. You should look at each addition as a way to add more uses to an essentially simple camera.

 

 


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Making you the one taking the photos, not the camera

When was the last time you read a camera review that was more about you than the camera? Then again, this is not a review but a user report about one of the cameras I use.

But perhaps to illustrate and underline the importance of a simple and well made camera I thought it was important not to indulge in the technical side of it before we had gotten it straight that you are the one making the photos, not the camera.

 

Jimi Hendrix sample photo Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95
Are you Experienced? Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95, 200 ISO. What I find interesting about this photo – and you should too – is that it doesn't show any technical qualities of the Leica M Type 240. But it's a great image.

 

It's interesting that none of my workshops are ever about the cameras. If someone comes with a Leica D-Lux or a Canon or Nikon that they don't know how to operate, I can't offer them help (truth is that nobody can). It's not about the camera (though we do have a jolly good time talking about the lenses and all). My workshops are always about light and how you find it. It's about you.

To return to the Hendrix image above, the one I chose was the technical worst, but in my opinion the best image. The lesson being that the camera is a tool for expression, not for technical pixel peeping.

 

         
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A different turn of events

The release of the Leica M 240 has been different than expected in many ways. The camera has also turned out to be different than expected. So after three months of silence, allow me to also start off this article or review with talking about you rather than the camera. I think it is not so much what the camera can do, but what you can do with the camera.

The way to go about with any camera, in my opinion, is to make one photo at a time.

What do I mean by that? One at the time?

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
A moment in Istanbul. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. DNG file edited in Lightroom 3.6.
© 2013-2016 Thorsten Overgaard.
Read The Story Behind That Picture about this photo.

 

A photographer is one who make photos. People recognize you as a photographer by your final photos that they can see rather than if you have a piece of paper that you have an education as a photographer. If your photographs are good, you are a good photographer. If they are bad, you are a bad photographer. People in general don't distinguish what camera you have, or what camera you used to make the photograph. They see if they like it or not.

 

How to have success with photography

First and foremost you must make photos for yourself, photos you consider good photographs. It is hard to get recognized by others if you can't recognize yourself first.

I don't expect people to recognize that I use a good camera. I expect them to not really care. So the reason I use the cameras I use, is because it makes sense to me. It works for me, and in the case of Leica it aligns with how I think and see, and it makes me happy.

Therefore the whole discussion of if a camera is good or bad, and reading reviews about a camera to see if it has more resolution than another camera, is not really that relevant. What is relevant is, how do you feel with this camera. Does it make you happy, and does it make you want to take photographs?

 

One photo at a time

Any camera may be alien to us, either because we haven't spent much time with it, or because it is new. So the way to get the camera to work is to make photos, one at a time.

And just as photography is not a skill you suddenly obtain from one day to the other, or by receiving a document from a school or other authority, the same way you shouldn't expect to master a new camera from one day to another.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Napier, New Zealand. Leica M 240 with Leica 21mm Summilux-M ASPH f/1.4.

 

I mention this because the hype about the Leica M Type 240 has been a little too much. Would the CMOS sensor perform just as well as the Leica M9's CCD? (which those with a memory longer than three years will remember was criticized for not being CMOS when the Leica M9 was released in 2009).

We don't know, or at least I don't. So I take one photo at a time. Not to find out which is the best, but to see what works for me.

If you look at all great photographers, what they did was photographing a lot, and by that they made one great photo from time to time. They didn't acquire their whole portfolio suddenly. The portfolio of great images is the bi-product of a photographer who keeps trying and keeps loving to take photographs.

Loving your tools, loving to wear your camera, understanding that camera and those lenses, and keep on using them is more important than how highly some reviewer thinks the resolution or sharpness of one camera compares to another.

Hence, photography is more about you, the motivation of you, and the image you can make with the camera. One photo at a time.

 


Felix Reichert and my daughter Robin Isabella in Paris, April 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013-2016 Thorsten Overgaard.

 

By the way, it is an interesting thing to do, to look at the books of Helmut Newton, Greg Gorman, Henri Cartier-Bresson, Elliot Erwitt, Richard Avedon and others and notice how many (or actually few) photos their portfolios consist of. It is also interesting to notice that the best of the great photographers photos did not necessarily come about in the end of their career when they had the experience and knowledge. Some of their greatest photos may have come about in the beginning of their career when they knew less than they did later. Sometimes you can tell that they had the fortune to experience places and people that enabled them to get those photos.

But if you notice for example Henri Cartier-Bresson, his generally most famous photographs are not from the important events in his career when he met Gandhi a few hours before Gandhi died, or from his many - and important, he thought himself - reportage from war and crisis. No, his most famous photos are from seemingly walking about in Paris and other places without much happening. Most of his famous photos are from empty spaces rather than happening spaces (which is ironic because HCB thought his reportage from the world's hotspots were more important than the landscapes Ansel Adams did at the same time period; but what remains popular in our time is Ansel Adams landscapes and Henri Cartier-Bresson's quiet days in Paris).

 

       
 

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This tells me that one cannot know if it is more important to travel to a dangerous country with the aim to report about subjects of great importance to mankind, or if the photographs taken on an early Sunday morning in a quiet neighbourhood, will be the most important photographs in your portfolio.

What it tells me is that one should choose ones equipment with love, and always carry a camera. Shoot to share, to preserve, to create emotions. Shoot what you feel makes sense, to you. One photo at a time. Later you will know which ones have value, which ones that are the best of the best.

This of course also has a lot to do with editing. The more I photograph, the more I realize that editing - meaning selecting what to take photos of, as well as which of the taken photos to use - is perhaps 1/3 of the skill set of being a good photographer. Editing is a subject I hope to return with more about, at another time.

 

The Leica M 240 is the new Leica M9

The question I have gotten the most, is "Should I get the Leica M 240 or the Leica M Monochrom, or stay with the Leica M9?". I think most who ask this already know if they can live without the Leica M 240 or they simply just have to have it. If you have used a Leica M9 for some time and you were happy with it, the M240 must be just as good or better. And it is.

With the new M strategy from Leica Camera AG where the M will be gradually improved without jumping from M10 to M11 and M12, and the Leica M Monochrom will follow the same strategy, there are basically just two lines of cameras. A Monochrom and a Color line, and either you have both as I have, or you want to simplify life by having just one of them.

 

Shadowland. Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Shadowland. Copenhagen March 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. Black and white converted from the DNG file via Lightroom. © 2013-2016 Thorsten Overgaard. Read The Story Behind That Picture for more on this photograph.

 

Black & White Photography

The Leica M Monochrom is the new standard in black & white digital photography. One might argue that people won't always be able to tell if a black & white photo came from a Leica M9, Leica M Monochrom or a Leica M 240. But that is really not the point of the Leica M Monochrom.

What a black & white camera has to offer is mainly the mental process of not having to bother with colors. It can be very rewarding.

One of the side-effects of shooting exclusively black & white though is that you suddenly see and value colors; so in that sense using a monochrom camera might make you want to shoot colors again (but with the clear difference that you now actually see colors more distinctly).

For the one new to Leica who would like not to get the most expensive camera around (which is currently the Leica M Monochrom), both the Leica M8 and the Leica M9 offer an alternative.

The M8 is available for very good prices and are excellent black & white cameras. With the Leica M Type 240 coming to the market the Leica M9 is selling from $3,000 and up, less than half the price of a new Leica M Type 240.

 

Istanbu workshop. Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
The Leica pusher in Istanbul, Burak Daldaban, photographing with Leica M Monochrom during the Overgaard Workshop in Istanbul, April 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013-2016 Thorsten Overgaard.

 

Leica Color Photography

The Leica M Type 240 is the new standard in Leica color photography. As simple as that. One may argue that the CCD sensor of the Leica M9 and Leica M9-P and Leica M-E looks different (more film like for example) than the Leica M 240. But for me that is simply workflow; meaning that it is a matter of getting your image files to look the way you want them to look.

But in terms of shutter sound, speed of operation, ISO and overall feel of the camera, the Leica M 240 is the new Leica M9. There is no turning back to Leica M9 when you get the Leica M 240. You may keep the Leica M9 for sentimental reasons and tell yourself it is nice to have as a backup. And you might even (as I have done) take out the Leica M9 to enjoy a cozy vintage moment in the cafe, reading the newspaper in the sunshine, accompanied by the smell of freshly made coffee and the Leica M9 lying on the table. But when you get back to real business, it'll be the Leica M 240 you take with you.

But understand that the Leica M Type 240 is not the only choice. The Leica M9, Leica M9-P and Leica M-E will continue to give great results for all those who can resist them self from the Leica M 240.

For more on color photography with the Leica M 240 read my article "Color Photography and the Colors of the Leica" (which is page 41 of this article).

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Oslo April 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.

 

The which is what Leica M overview

For comparison and to get the thoughts straight, here is an overview as of 2014.

However, it is clear that Leica Camera AG now offer a range of cameras that will suit different needs. For example the Leica M Monochrom may or may not be suitable for professional photographers who's clients require color photographs.

But it is a hell of a tool to play with, and if you have realized you prefer black & white photography, you will have fun with the unknown possibilities of the Leica M Monochrom. As with Jimi Hendrix, he didn't invent the guitar, but he did invent some funky ways to use it. Such is it with the Leica M Monochrom. So there you go, here is a range of Leica cameras for different needs:

 

Model M8 M8.2 M9 M9-P M-E
Type 220
M
Type 240
M-P
Type 240
MM

MM
Type
246
Nickname           "M10" "M10" "Henri" "Elliott"
Start 2006 2008 09/2009 06/2011 09/2012 03/2013 11/2014 08/2012 05/2015
End 2009 2009 2012 2012 - - - 2015 -
MP 10 10 18 18 18 24 24 18* 24*
Sensor CCD CCD CCD CCD CCD CMOS CMOS CCD B&W CMOS
B/W
Format 18x27 18x27 24x36 24x36 24x36 24x36 24x36 24x36 24x36
AA filter No No No No No No No No No
Video           Yes Yes   Yes
Adapters           R
Nikkor
R
Nikkor
  R
Nikkor
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 Yes
EVF No No No No No Extra Extra No Extra
Framelines           LED LED   LED
DNG DNG DNG DNG DNG DNG DNG DNG DNG DNG
JPG JPG JPG JPG JPG JPG JPG JPG JPG JPG
Base ISO 160 160 160 160 160 200 200 320 400
Max ISO 2800 2800 3200 3200 3200 6400 6400 10000 25,000
Processor           Maestro Maestro   Maestro
Buffer No No No No No No 2GB No 2GB
Frame selector Yes Yes Yes Yes No No Yes Yes Yes
USB port Yes Yes Yes Yes No Extra Extra Yes Extra
GPS           Extra Extra   Extra
Battery pack No No No No No No No No No
Weather sealed No No No No No Yes Yes No Yes
Weight     580g 600g 585g 680g 680g 585g 680g
Digital color filters for B&W           Built-in Built-in   No
Price $US new 4,800 5,995 7,000 8,000 5,450 7,250 7,250 7,950 7,450
Price Pounds 2,990   4,950 5,395 3,900 5,100 5,100 6,120  
Price Euro     5,000 6,000 4,800 6,200 6,200 6,800 7,200

 

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Jean//Phillip Design, Denmark, March 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

         
 

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How to deal with the Leica M Type 240

I shall spare you for the unpacking video. But do imagine me opening the box, already having most of the extras available at hand: Stereo microphone, macro adapter, electronic viewfinder, R-to-M adapter and spare battery.

It was impossible not to get overwhelmed and confused with all the new possibilities.

Therefore my advice is to start out with the Leica M 240 as if it was a new Leica M9. Don't add anything new but simply use the analog rangefinder mechanism as always and learn the new menus and the different sounds and feel of the camera.

The preview button top left of the display on the back is now LV (Live View, which open up the shutter curtain and shows a live image on the preview screen). That takes some days to get used to not using when you want to see a preview of an image.

I am fairly certain you won't follow this advice but want to try out Live View, video and everything else as soon as possible. And you will try to avoid studying the menus, because it is in so many ways the new Leica M9 and you will try to tell yourself you really don't need to read the manual to use it.

So let me just warn you that all these new things in a camera that used to be relatively simple will make you feel a little stupid and tired. The good thing though, is that you will get the feel of it after some weeks, then it all will become muscle memory.

If you want to speed up the learning progress, read the manual and put the manual on an iPad or iPhone, take the camera out to some quiet location where you can do the same shots again and again, study the behaviour and refer to the manual when needed. In the bottom of this page is the basic standard settings of the camera I recommend. Start with those so you can concentrate on one new thing at the time.

 

Robin Isabella. Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Working hard on Facebook. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013-2016 Thorsten Overgaard.

 

     
 

Why is it called a "camera"..?

The word Camera is today's short name for Camera Obscura (which originally means “a dark room”).

Origin of the word Obscura means "dark" or "covered", and the word Camera means Chambre and was used originally only as a Latin or alien word, actually only for Spanish soldiers' rooms, until popularized in connection with photography in 1727: “Camera Obscura”.

In 1793 the slang term “camera” was used by Sterne Tr. Shandy: “Will make drawings of you in the camera” and by Foster (1878), “The eye is a camera”.

Ibn-al-Haytham mentioned Camera Obscura in his "Book of Optics" in 1021.
Ibn-al-Haytham mentioned Camera Obscura in his "Book of Optics" in 1021.

The concept of Camera Obscura was described by Iraqi scientist Ibn-al-Haytham in his book, “Book of Optics” (1021) and by Leonardo da Vinci in 1500; popularized and made widely known in 1589 by Baptista Porta when he mentioned the principle in his book “Natural Magic”. Johannes Kepler mentions Camera Obscura in 1604.

Camera = chambre (room), Obscura = dark (or cover).

 
     

 

 

Like a Leica M9, but stronger and faster

The Leica M Type 240 should not be much of a surprise. New Leica M cameras come out every three years since the Leica M8 in 2006 and the Leica M9 in 2009. The unusual thing about the Leica digital rangefinders is that they stay relevant for more than three years. Look at the Leica M8 from 2006. Still a lot of happy users. The Leica M9 and Leica M9-P was and still is a very rewarding camera to use ... and will remain to be so for many years to come.

What has been anticipated with some anxiety has been the new CMOS sensor and the "new electronic features" such as digital viewfinder, video and the possibility of attaching Leica R lenses (and Nikon F lenses).

I will admit that I got a bit more overwhelmed than I had expected when I got the camera. The Leica M Monochrom came not that many months ago, but that was essentially a Leica M9 with very few changes.

I saw the Leica M Type 240 at Photokina, the prototype, and to me it seemed pretty much like the Leica M9 with some ugly microphone holes on the top plate and a different sound of the shutter. A Leica M9, but stronger and faster.

 

Neville Porter. Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Neville Porter, Auckland. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

I remember when the Leica M9 came out, how troublesome the image quality was in the beginning. But we got it under control in a matter of weeks trying different profiles, several software from Apple Aperture over Capture One to the recommended Adobe Lightroom (that is also supplied with most Leica camera models).

When I say "we", I mean the Leica community as it exists online on the Leica User Forum and Rangefinderforum. It is a collective experience and research and discovery finding the possible best practices for a new workflow.

 

Getting stuff to work

I like to get things done. I am not happy with trying new things or changing ways. I like to get it to work and keep it working. Some people love trying new cameras, new screens, new software, new tricks. I don't. Even thought I am a first mover in many areas of life, I do things to get them to work. Not to toy with them.

This terrible period of not knowing which leg to stand on comes with everything new. Managing the look of images is a very personal thing. It's not like getting a new iPhone. It is more personal and disturbing. As a painters materials or a musicians instruments. You want it to be exactly the way it was yesterday, because that is the result of years of work and experience.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Paris, April 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

 

 

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This is how it was when I got my first film scanner, and every time I got a new film scanner after that one. The first digital cameras and every new digital camera after that one. Always a desperate attempt to work towards the old with new tools and new rules. And then, after a while, realizing that the overall quality has gone above the previous level. But until then, it's a bit like Bambi floundering on the ice in the Disney movie.

New ways force you to question your methods and review it all again.

I look for things I recognize, places to put my feet. That's how I do it. One image at the time.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.

 

Learning a new camera

As with the Leica M Monochrom I went out to a local cafe to show the camera the city and learn more about it in a relaxing way. This somehow lead to doing a very quick video with the Leica M Type 240 and the Leica Noctilux-M ASPH f/0.95 wide open.

It was straight forward and very easy (as described on page 35) but also led to a kind of overload of new things in too short time. After having released the video the response from videographers took some time to address, and I think I finally got that answered and finalized by doing a video with Austrian videographer Johnnie Behiri who flew to Denmark to do a project (as it can be seen on page 36).

After this intermission I felt I had overcome the video and could focus on what I actually wanted to use the camera for. Which is the same as the Leica M9; for portraits and atmosphere around the world.

This also explains why the page 35 and page 36 came before page 30 in this article!

 


From Den Gamle By when I went about to test the camera settings a place where not much move. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

           
 

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I think the way to learn a new camera is to study the camera and the manual a bit and then go out and do something that is not moving that fast.

I took the camera to The Old Town in Aarhus where I could work with interiors and exteriors without too many people.

 


From Den Gamle By when I went about to test the camera settings a place where not much move. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

You have to take it out. You have to make some interesting pictures and not just test photos of your desktop or backyard. It's a better learning experience doing something where you have time to stop, study the menu and try different settings. Which you don't have if you are doing a commissioned portrait, shooting a wedding or a concert.

 


Interior from 1800, when cobolt blue was in. Very close to Yves Klein I would say. From Den Gamle By when I went about to test the camera settings a place where not much move. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.

 

 

Wearing a camera

I wear a camera most of the time, including in the car and in airplanes. That means that I have the camera strap across the chest so that the camera rests but is always there. I can sling it back so it isn't seen and isn't in the way. Or I have it in the front so it is more visible and ready. Some like to carry the camera in a hand-strap but I prefer to have both hands free and the camera 'next to me.'

My camera is always on. In the suggested Menu settings you can see I have the camera to power off after two minutes and the preview is 1 second. This will make the camera battery last for a day, easily.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Istanbul, May 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013-2016 Thorsten Overgaard.

 

When I enter a room or see something at a distance that might be an image, I will slightly touch the shutter release. This wakes up the camera so it is ready when I need it.

With the SanDisk 64GB 95MB/sec card the wake up time for camera and EVF2 is a little more than 1 second. With other cards (including the 32GB version of the 95MB/sec card, the wakeup time can be 3 seconds or slower).

With the Leica M 240 you will spend some time on the Live View and the EVF2 electronic viewfinder: Is LV on, and is it showing the image on the preview screen or the EVF2? It shows the image where it did last time the camera was active. And if on the screen, you have to press the button on the EVF2 to get it there instead. Or press the button on the EVF2 again to get LV off. You see the confusion, right? But when I got that sorted out, the camera and the EVF2 is ready after a second or so after I touched the shutter release.

If I use the EVF2 I have to make sure the diopter (eye correction) on it is set correctly. For me that is a little to the + side of the middle. But the rubber ring that adjust the diopter moves when the camera hangs over the shoulder, and if the diopter is wrong it tires the eye and make focusing difficult. So I sort of check that when I grab the camera and lift it to my eye.

The Leica M 240 does not have any battery information in the preview display. You have to press INFO on the right side of the display to get the info about battery, memory card left and settings in general. If you press INFO when you preview an image you get the info about the image, not the camera. So the camera has to be on and no preview on the screen to get the info about the camera.

 

Jose Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Jose Salcedo photographing in Berlin, May 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95

 

The battery is so powerful it is not really a problem. The first notice about battery drain will be an alert on the screen when it is at 20% and then you still have some ways to go. But the next alert will be that the camera is low on battery ... please switch it off.

If you switch off the camera and then switch it on again a little later you can usually squeeze some more photos out of it. But else you need to charge or change battery.

With the EVF2 set to automatically 10X the image (focus aid), the 10X focusing is activated when you touch the focusing ring on the lens. After a few weeks I have finally gotten into the rhythm of this: : I lift the camera to the eye and quickly have an idea of what the frame is and start focusing. This gives a 10X enlargement of the center of the image, and as with the Leica M9 and Leica M Monochrom, I will move the center of the frame to what I want in focus. Then I slightly touch the shutter release to get back to the 100% frame, finish the framing and shoot.

Using the EVF2 is very precise as to focus, but the analog viewfinder is much faster and more intuitive for shooting things moving.

 

The well tempered shutter

The Leica M 240 shoots a little more than three images per second where the Leica M9, Leica M-E and Leica M Monochrom shoot two frames per second. And on top of that the whole shutter mechanism and body has been redesigned so the Leica M body now is one piece of metal (except a plate slit in into the front holding the M bayonet mount). It is a very sturdy camera body with very tight high-precision assembling, including weather sealing.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Istanbul, April 2013. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.


All in all the faster shoot rate and new design of the mechanism result in a very determined sound that almost sounds like a small guillotine. But after some weeks with a good hand full of actuations the shutter sound will be softer and more relaxed, yet still very determined and short. Where the initial sound is a bit embarrassing, like a Death Star laser, the sound of the well-used shutter is well tempered and ... addictive.

 

A new design of the same camera body

You will oddly enough feel how well built it is from the first moment. It is not that the Leica M9 was not built to last more or less for generations. It is. The Leica M Type 240 is just built even better. More precision in everything, and a redesigned body that is made out of one piece so there is no assembling in the bottom of the camera. It's quite a piece of work.

As mine starts to show the brassing I appreciate the build quality more and more. For some reason I felt that the Leica M 240 was more of an 'electronic camera' in the beginning, but the more I use it, the more it feels like a classic Leica M4.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Leica M 240 with Leica 50mm Noctilux-M ASPH. © 2013 Thorsten Overgaard.

 

             
 

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Soft leather camera pouch for Leica Q, Leica Q2 and Leica M. See more here.
Soft leather camera pouch for Leica M and Leica Q2. See more here.

 

Which memory cards to get

For the Leica M 240 I would recommend the SanDisk 64GB with writing speed of 95MB/sec. The 16GB and 32GB SanDisk with writing speed 30MB/sec and 45MB/sec will work fine, but for larger data sizes and for shooting video, a faster card is to be preferred. It will make offloading images from the card to the computer faster.

The Sandisk 64GB Extreme Pro 95MB/sec offer faster startup time than the 32GB version of the same card. Go figure, but the fact is that with the 32GB card the startup takes 2-3 seconds, with the 64 GB the startup time is reduced to half.

The speed of the SD-card (30MB, 45MB or 95MB/sec) will not affect the frames per second of the Leica M 240.

For the Leica M9, Leica M9-P, Leica M-E and Leica M Monochrom the SanDisk 16GB and 32GB with writing speed of 30MB/sec and 45MB/sec is fine. There is no reason to use faster card in these. On the contrary a more advanced/newer/faster card may just complicate matters.

 


From left the non-SDHC 2 GB 15MB/sec card for the Leica Digilux 2 and DMR (digital back for R9). The wireless Eye-Fi card (orange) that will work in the Leica M 240. And then the four cards to the right will all work fine in the Leica M 240 ... But the 95/MB sec card to the right (gold green) is the one I would recommend, but as 64GB (which has twice as fast startup-time for the Leica M 240 as the 32GB).

 

Got for the speed, not the name
It is worth to take a note that SanDisk continuously rename their cards so that what is now "Pro Extreme" will be "Extreme" in the future, and even further into the future just a grey un-sexy looking card called "Ultra". The speed given on the card is what matters as the Pro Extreme name (that sounds so reassuring) written in gold on the card is simply the name for the currently fastest cards.

SanDisk Eye-Fi wireless card
The Leica M 240 has a piece of plastic in the bottom plate so that wireless cards can transmit easily. In the Leica M9, Leica M9-P, Leica M-E and the Leica M Monochrom the bottom plate in solid metal prevented the signal.
The installation on the card and iPad/computer/iPhone is confusing because of the instructions given from Eye-Fi, and so is their software. But it can be set up in half an hour and may or may not then work properly. Though some times there will be a great delay before the images arrive, at other times they arrive immediately. No explanation as to why and the software is just ... really annoying.

 

Pamela Tinning. Leica M Type 240 sample photo
New Zealand photographer Pamela Tinning in Napier, April 2013. Leica M Type 240 with Leica 90mm APO-Summicron-M ASPH f/2.0


I personally fail to see the purpose of sending JPG files to the iPad, iPhone or computer, but it is a possibility with the weakness explained. I would recommend getting the 16GB card or larger as you will run out of space on the 8GB soon and then will have to download the images via the SD-card reader on the computer before you can continue sending wireless (doesn't that sound as if it is extra work to do something smart?). Well, it was something I had to try, and now I've done it. It took me 15 transmitted images to get there. I'm over it.

 

Formatting SD-cards when they have lost speed

For different reasons the SD-card can go slow, for example when used in other cameras or formatted in other cameras or on other computers. The way to get the SD-card back to top speed is to download the free SDFormatter for Mac or SDFormatter for Windows and format the card.

I had borrowed out my Leica M 240 to a film crew and after some days when I got the camera back, the 64GB 95MB/sec had gone slow in startup time (from 1 second to now 3 seconds). After formatting it in SDFormatter for Mac the card speed was back to 1 second.

Generally I do not format my cards but drag the image files to the Trash on the Desktop after I have downloaded them. Then I Empty Trash and put the card back in the camera. Only if I experience problems with a card I will format it with in the camera, with SDFormatter or try other handlings. And some times the card is simply corrupt beyond further trust, and if it is within warranty, I return it.

SDFormatter

 

Continuous shooting at 3.5 frames per second

The M240 will shoot a little more than three frames per second for the first two seconds, then slow down. More precisely it will shoot the first six frames in 1.7 seconds, then the camera slows down to write and shoot at the same time.

When shooting 6 images in continuous mode, this will happen in 1.7 second. Then the buffer will be busy writing these images for the next 10 seconds after which the camera is ready for another 6 frames in 1.7 second.

If you continue shooting, the frame rate will go up and down from the 7th image in the continuous burst.

After the first 6 frames the next six frames will take 5.9 seconds to complete; but the frame rate will go up and down from 0.25 to 1.4 seconds per frame. This is not practical as the rhythm will be unpredictable. Of course, if it is action and you want to make as many frames as possible, it may make sense to squeeze as many shots in as possible (despite the uneven rhythm after the first 6 frames).

But for portrait for example, and most other photography, you will want to predict your timing.

When you use the camera a lot you sort of get the rhythm in so you never really stumble against the buffer limit. The Leica M240 has a definite advantage over the Leica M9 and M9-P in for example portrait shooting where most people will stumble into the buffer wall using M9.

2 frames per second with 1600 ISO
When the ISO is higher, the speed goes down on the Leica M240. The frames per second is reduced drastically to (less than) two frames per second for the first four images at 1600 ISO.

Using EVF2 digital viewfinder and Live View
The fps will be the same with Live View and using the EVF2 digital viewfinder. At least in Classic mode of the light metering. The Live View itself does not slow down the frames per second. The use of Advanced Metering and Spot metering that depend on the camera reading and analyzing the Live View image to figure out the proper exposure may delay the process.

Battery charge or memory card will not affect the frames per second
The fps remain the same with a 30% charged as a 100% charged battery. Nor does it affect the frame rate if you use a 45MB/se or 95MB/sec card.

 

Speed at 200 ISO compressed DNG + JPG Fine Leica M 240 Leica M9
fps (frames per second) 3.5 fps 1.7 fps
First 6 frames in single burst 1.7 seconds 3.6 seconds
First 12 frames in single burst 7.6 seconds 29.9 seconds

 

Buffer speed
One frame takes about 4 seconds to write, but 5 continuous images will take 10 seconds on the Leica M 240 to be stored. In other words, you may develop a rhythm of shooting 5-6 frames in 1.4 - 1.7 seconds, then pause for 8 - 10 seconds before you resume photographing. This may sound limiting, but if you imagine shooting portraits or models, you would shoot 1-2-3 shots, then pause, then shoot another 1-2-3 and would never stumble into having to wait for the buffer, unless you get too eager.

In shooting portraits the face expression will change slightly over one second, but if you shoot 1-2 pictures per expression you will have sufficient. If you shoot more, you will have more to edit of the same. Hence it is better to develop a rhythm of shooting 1-2 frames of one face, then ask the model to change the face or position a bit, then shoot 1-2 frames of that and so on.

Recovering lost JPG, DNG and video files from SD-cards

If you have a corrupt SD-card the camera can't read, or simply deleted files on the SD-card you shouldn't have deleted, download Data Rescue test version from Prosoft Engineering, Inc to see how much you can restore. Their trial version allow you to preview up to 10 images or files from what it finds via the trial version, and then restore up to 10MB of data for free. If you need more than that, you'll have to pay for their software which is around $99. It takes about half an hour to scan a 32GB card (deep scan) and half an hour to one hour to restore it all. Much less if it is only a few files. It will rename all files with default numbers from 00001 and some times rename DNG to tiff. But it works (and the RIFF files will behave as DNG in Lightroom).

This is also the type of software you can use to recover images you deleted whilst a big security guard breathed down your neck. You can always get files back as long as they were not overwritten.

You may want to remind your teenage kids about that software, because you can get any data from a SD-card that has been on that SD-card; as long as it hasn't been overwritten. Basically, if you take an empty 32GB SD-card and run it through the software, you will get 32GB of data. So private pictures one thought were gone, will surface again. Good to know for the teenage son who wanted to impress his new girlfriend with his photographic skills and thought the evidence was all gone when the card was erased.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Berlin, May 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

 

Leica M Type 240 Firmware Version 2.0.0.11

Released on October 8, 2013 replaces the original firmware released on March 1, 2013:

- Improved performance of the white balance: The accuracy of the white balance presets and the auto white balance function is higher with version. This results in better skin tones and better general colour rendering.

- Improved Video quality: The visibility of compression artifacts is reduced due to lower video compression.

- Lens calibration: For coded Leica lenses, the image homogeneity (colour shift) has been improved.

General fixes:
- Improved stability using Live View, both with and without EVF-2
- Issue with display settings in combination with “Sharpness high”
- Issue with exposures after switching the camera on
- The “Auto Power Off” function showed unexpected behaviour
- The recording dates for video files have been incorrect occasionally
- Issue with Copyright and Artist Information in EXIF Data
- Improvement of general system stability
- Several minor bug fixes

Download Firmware Version 2.0.0.11 from Leica Camera AG.

 

 

Getting used to the Leica M Type 240 when coming from 6 - 12 frames per second

If one are used to cameras with very high frame rates, one may have developed a shooting style of shooting a series of 6-12-18 frames per pose or simply always end up with 6 frames every time one press the shutter. That is overkill but will work if one works fast in editing and concentrate on looking for the few good photos (and omit comparing what is duplicates). But it is killing the model. High frame rates are for action photo, not landscape and model shoots.
When coming from high frame rates to the more moderate Leica M Type 240 you will stumble into the buffer wall simply because you are used to (too many frames per second). You will have to get used to look at the subject and stop listening to the frames per second. It takes one click to get a photo, not 10 clicks.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Joy Villa in Istanbul. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.

Compressed DNG or Uncompressed DNG?

DNG stands for Digital Negative.

As with the Leica M9 I recommend shooting Compressed DNG as this is lossless*. This basically means that when you shoot an image, the image contain a lot of 'empty' information, and compressing the DNG image simply is not storing the empty fields of information. This is how the size of the file is reduced to half.

The discussion of lossless is ongoing. Will future technology be able to make information out of 'empty' fields? I don't believe there is any information in the empty fields, so I decided to shoot lossless. And if there were information in the 'empty' fields, my policy is to finalize photos today to final editions, not to re-open old photograph to re-edit them later.

If you are unsure, shoot Uncompressed. It will take twice the space and make the camera writing to the card slightly slower as well as working in Lightroom slightly slower. But it is not the end of the world.

 

Lossless*

Lossless compression basically is when you can compress something and 'unpack' it later or somehow get it back to it's original form. Like compressing a zip file that will turn back to it's original form when unzipped. As the Leica M9 Compressed file can never be brought back to it's original form, it is not really lossless. What you removed, you lost. You may never need it, but you can't get it back in any case.
The Leica M 240 is different, thought currently I do not understand the concept exactly of how it is now lossless.

 

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What is DNG..?

DNG stands for Digital Negative and is an open lossless raw image format developed by Adobe.

RAW simply means raw, basically a file containing what the sensor recorded of raw data, unedited by camera software. Raw formats can be proprietary, meaning that each manufacturer has their own raw type, requiring their software to read that raw data. The DNG is an open standard, meaning that it does not require a certain software that only one manufacturer make.

 

Birgit Krippner
Birgit Krippner at her exhibition in Napier, New Zealand, April 2013. Leica M Type 240 with Leica 21mm Summilux-M ASPH f/1.4.

 

The DNG is a way of packaging the 1) raw image data with 2) EXIF data from the camera, 3) XML data about the editing of the image and 4) IPTC data about keywords, copyright, captions for the photo, etc.

The Leica M Type 240 (and Leica S, Leica D-Lux 6, Leica M9, Leica M9-P, Leica M-E and Leica M Monochrom) uses DNG.

The US Library of Congress states that DNG is a recommended alternative to other raw image formats:
"Less desirable file formats: RAW; Suggested alternatives: DNG".

The Digital Photography Best Practices and Workflow (dpBestflow) project, funded by the United States Library of Congress and run by the American Society of Media Photographers (ASMP), singles out DNG, and states "DNG files have proven to be significantly more useful than the proprietary raw files in our workflow"

As covered in my Lightroom Survival Kit one should not depend on a raw/DNG format to be a usable standard in all future. This means that one should use Lightroom (or Aperture or similar raw workflow tool) to read the raw/DNG files, edit them and then export them to a format that can be read in the future, and/or that can easily be converted to a new standard of file format. In short, I suggest one finish editing of ones images every day, export hires JPG files as final 'prints' (and still keep the raw/DNG files for reference and eventual later use).

But consider the hires JPG your original. In the same manner that you would always keep all your film negatives but would rely on printed images to be originals (as the world will one day run out of enlargers, photo paper, chemicals and people who now how to use them).

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard. 3200 ISO
Hotel room, New Zealand April 2013. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. 3200 ISO.

 

Black & White and Color at the same time (DNG + JPG Fine)

As with the Leica M9 I set the Leica M Type 240 to shoot color DNG and black & white JPG Fine at the same time. This way the preview I see on the cameras preview screen (or in the preview shown in the EVF2) is in black and white. I prefer this as I only want to see the tones, the exposure.

When importing the images to Lightroom I see the color and black and white images side by side, allowing me to choose if I like the image the most in black & white or color, or perhaps want to use both versions.

The way to get both is to go to SET > File Format > DNG + JPG Fine.

Then to change the preview of the JPG to black & white:

MENU > Scroll down to Film Mode on the 2nd page > Black-and-white

Now you see the black & white preview, and both the color DNG and black & white JPG is saved to the SD-card.

 

© Thorsten Overgaard
Napier, New Zealand, April 2013. Leica M 240 with Leica 21mm Summilux-M ASPH f/1.4.

Digital color filters for black & white

An interesting feature in the Leica M Type 240 is that the menu offer additional black & white settings in that one can select digital color filters. I shall return to this later. But basically the sensor is made to believe there is a colored filter, red, green, yellow, orange, blue or other in front of the lens and this will result in the same effect in black & white photos as if you used real color filters in front of the lens.

A red filter in front of the lens - or in this case digitally manipulated - will make red colors appear brighter in the black & white image, and the blue will appear darker. So as to add effects to blue skies, more contrast to green trees and so on with color filters.

Read more on Page 39, "Digital Color Filters in the Leica M 240"

 

 


My Leica M with Leica 35mm Summilux-M ASPH f/1.4 FLE and the ventilated lens shade that goes on the outside screw of the lens, leaving the filter screw for filters. You can buy the lens shade in Black Paint ($129) or in Silver ($149) on this page.

 

 

To get started: Basic Menu setup for the Leica M Type 240

As mentioned, the sound and feel of the new Leica M 240 will take a little time to get used to when coming from the Leica M9. It will continue to confuse you the first days or weeks that the preview button on the back has now moved one step down and the top left button to the display is LV (Live View) that will activate the shutter with a click and show a preview of Live View on the display. But you will get used to it.

 

Sample photo Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 © Thorsten Overgaard
Women's Liberation. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.

 

Next thing is to get used to is the new and expanded menu. The single item that takes the longest to get used to is that the selection of black & white is on 2nd Menu screen and is called Film Mode (instead of two clicks away it is now two clicks and 9 scrolls down and another click).

 

To get started with the menu (Firmware Version 2.0.12)

I shall get into the Version 2.0.1.5 menu later, for now this is the basic setup I recommend. If you set your camera like this it will work. The battery time will be long, the preview will be black and white ... this will get you started and you can start examining the menu items your self.

(For basic video settings, see page 36 of this review/article).

There is a SET and a MENU button on the back of the camera.

The SET screen is quite simple one screen:

SET screen 1 of 1
 SET  
200
White Balance Automatic
File Format DNG + JPG fine
JPEG Resolution Off
Video Resolution 1080p@25fps
Exposure Compensation Off
Exposure Metering Center-weighted
User Profile ---
 
 

* If you live in the US or Japan, the Video Resolution should be 1080p@24fps.

 

The MENU screen consist of five screens.

Notice that as you scroll down the menu, the page indicator on the left changes (yellow here but white on the camera), and the subject/title on the top of the page changes:

Menu screen 1/5 "Camera"
 MENU  CAMERA 
Automatic
Self Timer 2 s
Light Metering Mode Classic
Exposure Bracketing Off
Flash Sync. Mode Start of Exp.
Auto Slow Sync. 1 / focal length
   
   
 
 
Menu screen 2/5 "Image"
 MENU  IMAGE 
Standard
Saturation Standard
Contrast Standard
Film Mode Black-and-white
Color Space sRGB
DNG Compression On
   
   
 
 
Menu screen 3/5 "Setup"
 MENU  SETUP 
Medium
EVF Brightness Medium low
Frameline Color Red
Focus Peaking On
Focus Aid Automatic
Histogram Standard
Clipping Definition 2 / 253
Auto Review 1 s
 
 
Menu screen 4/5 "Setup"
 MENU   SETUP 
Off
Image Numbering LEICA / L100
Horizon  
Sensor Cleaning Off
GPS On
Audio Standard / Off
   
   
 
 
Menu screen 5/5 "Setup"
 MENU  SETUP 
2 minutes
Date / Time 2 s
Acoustic Signal Off
Language English
USB Mode PTP
Reset  
Format SD Card  
Firmware 1.1.0.2
 
 

I shall get back to more on the menu and what each menu item does.

 

© Thorsten Overgaard 2013
Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.

 

My personal wannabe filmmaker project, a tribute to Jimi Hendrix, "Bold as Love". To see more about Video on the Leica M 240, visit Page 35 of this article.


"Bold as Love"
featuring Joy Villa. Filmed with Leica M Type 240 and Leica 50mm Noctilux-M ASPH f/0,95 at f/4.0, 1/50 second, 200 ISO, manual white balance, external light meter, shot in my daylight studio.
(Unfortunately) shot using sharpness and contrast set to Standard, but (fortunately) with Film Mode set to Off, and edited in Adobe Premier CS6. It could be a little better, but also a lot worse!

 

 

Leica M Type 240 Firmware update 2.0.1.5 (click to download)

July 1, 2014: I shall get into the updated menu settings with the new firmware later. The fixing of the "occasional" lock-ups may be the most important improvement in my opinion.

  • Improved description of the lens type in Exif-Data

  • Live view is now possible with every lens (including older screw lenses via an adapter) using “manual lens detection”

  • A “Video off” option is now available in the Set menu (see submenu item “Video recording”). The M-Button on the Top-cover is deactivated when this option is chosen.

  • The Horizon (level) is now visible in Live View, overlaying the live image. This additional info-screen is enabled using the menu item “Horizon”

  • New menu item “Exposure Simulation”

    Exposure simulation -> Permanent: Live View accurately shows image brightness according to the shutter speed and aperture set in manual exposure (as long as the chosen exposure time is shorter than 1/30s)

    Exposure simulation -> Release button half-pressed: Image brightness in live view is adjusted for best visibility, regardless of the actual exposure.
    Half pressing the shutter button shows the actual exposure.

  • Extended Auto ISO options
    - All Auto ISO options are now visible using the ISO button
    - Extra options for “Maximum Exposure Time” - 1x, 2 x, or 4x focal length - can be selected to help avoid camera shake when using auto ISO and long lenses.
    - “Auto ISO in M mode” is now offered as an option. This varies ISO sensitivity for correct exposure when shutter speed and aperture are set manually.
    - AlternativelythecamerachoosesthepreviousmanuallychosenISOspeed

  • Crop marks
    In Live View, new crop marks for 3:4 / 6:7 / 1:1 / and 16:9 aspect ratios can be displayed. By pressing the up/down keys, the crop marks are superimposed on the live view screen (without additional information)

  • Korean is now available as a menu language

  • During video recording, 1/25s is now used instead of 1/24s. This reduces flicker effects with 50Hz mains voltage

  • Exposure bracketing settings are now saved when the camera is switched off

  • Direct exposure correction

    An “EV correction” option in the menu enables direct adjustment. So EV compensation can be altered by turning the thumb wheel, without having to press additional buttons.

  • New Light Metering Mode “Classic / LV disabled”
    In this mode, only Classic light-metering is possible; the LV button is disabled to avoid the activation of live view by accident.

  • New menu item “Focus Peaking”
    For improved visibility, the color of focus peaking can now be set to red, green or blue.

  • Better display of GPS location data
    Position is now shown for JPG files in Adobe Lightroom®
    Where the GPS signal is weak, the last position is now deleted after 5min instead of 24h as in previous firmware versions.

  • Bugfix in Live View at high temperatures
    "Occasional" malfunction of Live View at high temperatures has been fixed

  • Bugfix in light metering (Live view)

  • Bugfix regarding sensor cleaning function

Installing the Firmware

  1. Format an SD memory card in your Leica M.

  2. Turn off the camera and insert the card into an SD card reader – either integrated or connected to your computer. (A reader is required for Firmware updates).

  3. Download the Firmware file from the Leica M site using the “DOWNLOAD” link.

  4. Save the file M_240-2.0.1.5.FW at the top level of the card’s folder structure.

  5. Remove the card properly from your card reader, insert the card into the camera and close the bottom cover.

  6. Press the “INFO” button and hold it, simultaneously turn on the camera using the main switch.

  7. The update process takes 2 - 4 minutes.

  8. When the update is done, a corresponding message appears on the screen. The Message disappears after some seconds.

 

A Guided Tour of the July 1, 2014 Firmware by the Beta tester

Jono Slack has written a very helpful article about the update here, "Leica M Firmware Update v. 2.0.1.5" as he has been working on the beta-testing of the new firmware for months with Leica Camera AG.

 


The above photo is s© Jono Slack 2014, Leica M 240 with Leica 50mm Summilx-M ASPH f/1.4

 

Enjoy the latest articles on the Leica M 240:

This is a continious user-report by Thorsten Overgaard. See more articles here and make sure to join the mailing list to stay in the know.

     
Page 42 in the article series on the Leica M
Color photograhy and the Leica M
  Page 42 in the article series on the Leica M
Focusing the Leica M - Five pages about that...
     

 

         
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  #1816-1218      

 

 

     
 

Continues on page 31 -->

"Learning the new Leica M 240"

 
 

 

<--- To read the "Photokina 2012 First Impressions
of the Leica M240 read Page 29

 

 

 
 

 

 

Leica M 240 Definitions:

 
  1:2/50 the description says. But what does it mean?
   

 

1: - Basically means 1 divided with. But why is it on the front of the lens? If you look close, a lens will often say 1:2/50mm on the front, meaning it is a 50mm lens with an f/2.0 apterture. The 1: itself is a ratio, that indicates that the aperture diameter (25mm) is the ratio of 50mm divided with 2.
It's a strange way of writing product information on modern products, but here's how it's right:
a) A lens is called a 50mm lens because there is 50mm from the sensor to the center of focus inside the lens.
b) A lens is f/2.0 when the widest opening is 50mm divided with 2 = The lens opening is 25mm in diameter at it's widest. Had it been an f/2.8 lens (1:2.8/50), the widest aperture opening would be 50mm divided with 2.8 = 17.8mm.

Aperture = The f/ stop on the camera that regulates how much light passes through the lens. On a f/1.7 lens the lens is fully open" at f/1.7. 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/1.7 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 (28mm divided with f/1.7 = the hole is 45 mm).
ORIGIN: Late Middle English : from Latin apertura, from apert- ‘opened,’ from aperire ‘to open’.

 
  The camera in Aperture Priority Mode
   

Aperture Priority Mode. When the shutter speed dial on top of a Leica camera is set to A, it is short for “Aperture Priority” and allows the user to set a specific aperture value (f-number) while the camera selects a shutter speed to match it that will result in proper exposure based on the lighting conditions as measured by the camera's light meter. In other words, you set the aperture as priority (f/1.4 for example), and the camera calculates a shutter speed (1/250 of a second) that matches that. If you change the aperture to f/2.0 by changing the aperture ring on the lens, the camera will re-calculate the speed to 1/125 so as to get the same amount of light to hit the sensor (f/2.0 is half the light through the lens as f/1.4 and 1/125 if twice the amount of light on the sensor as 1/250).

 

  spherical (ball)
spherical (ball)
  a-spherical (non-ball)
a-spherical (non-ball)
   

ASPH = (Aspherical lens) 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 (a-spherical, meaning non-spherical), 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.

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.

A- means non, or without. From Latin, ex.

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

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

 

Banding = Noise in digital images. Horizontal lines in a horizontal picture (if the camera is in portrait mode/vertical, the lines will 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 has vertical lines in it, it is more likely that the sensor needs remapping).


This image at 6400 ISO, underexposed and then brought up to correct exposure in Lightroom, displays banding: Horizontal lines in the image. Leica M-D 262 with Leica 50mm APO-Summicron-M ASPH f/2.0.
This image at 6400 ISO, underexposed and then brought up to correct exposure in Lightroom, displays banding: Horizontal lines in the image. Leica M-D 262 with Leica 50mm APO-Summicron-M ASPH f/2.0.

Base ISO = The ISO the digital sensor was born with. Even a digital sensor goes from say 50 ISO to 25,000 ISO, it only has one base ISO. Any other setting is an algorithm that figures out how the image whould look if there was 64 times more light, or half the light, etc.
When you go down from Base ISO (for example 200 to 100 ISO), you can expect a decrease in quality. When you go up, the decrease is much less. For some sensors, you loose 2-3 stops by going down 1 step in ISO, but can go 8 steps up and only loose 1 stop in dynamic range. Basically, your ISO range should be from Base ISO and as far up as you can, before you see visible decrease in quality (mostly 3200 ISO - 6400 ISO).
Base ISO for Leica M9 is 160 ISO, for Leica M240 it is 200 ISO. For Leica M10 it is around 160 ISO. For Leica M Monochrom it is 320 ISO. For Leica Q and Leica Q2 it is around 100 ISO. For Panasonic Lumix S it is 200 ISO. For most Canon cameras the base ISO is around 100, for most Nikon cameras it is around 200 ISO.

 

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

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, which is why the quality discussed is if one likes the way it renders or not by a particular lens). The closer you get to something, the 'more' bokeh' you get (in that the focus becomes less for the background and foreground at close distances than at long distances). ORIGIN from Japanese 'bo-ke' which mean 'fuzzines' or 'blur.'.

 

Bokeh: The visual quality of the out-of-focus areas of a photographic image. Photo at Bar del Fico in Rome. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.Bokeh: The visual quality of the out-of-focus areas of a photographic image. Photo at Bar del Fico in Rome. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.

Camera - is today’s short name for Camera Obscura (meaning “a dark room”). Camera means Chambre and was used only as a Latin or alien word, actually only for Spanish soldiers’ rooms, until popularized in connection with photography in 1727: “Camera Obscura”. In 1793 the slang term “camera” was used by Sterne Tr. Shandy: “Will make drawings of you in the camera” and by Foster (1878), “The eye is a camera”. Camera Obscura was described by Iraqi scientist Ibn-al-Haytham in his book, “Book of Optics” (1021) and by Leonardo da Vinci in 1500; popularized and made widely known in 1589 by Baptista Porta when he mentioned the principle in his book “Natural Magic”. Johannes Kepler mentions Camera Obscura in 1604.
Camera = chambre (room), Obscura = dark (or cover).

 

     
 

Why is it called a "camera"..?

The word Camera is today's short name for Camera Obscura (which originally means “a dark room”).

Origin of the word Obscura means "dark" or "covered", and the word Camera means Chambre and was used originally only as a Latin or alien word, actually only for Spanish soldiers' rooms, until popularized in connection with photography in 1727: “Camera Obscura”.

In 1793 the slang term “camera” was used by Sterne Tr. Shandy: “Will make drawings of you in the camera” and by Foster (1878), “The eye is a camera”.

Ibn-al-Haytham mentioned Camera Obscura in his "Book of Optics" in 1021.
Ibn-al-Haytham mentioned Camera Obscura in his "Book of Optics" in 1021.

The concept of Camera Obscura was described by Iraqi scientist Ibn-al-Haytham in his book, “Book of Optics” (1021) and by Leonardo da Vinci in 1500; popularized and made widely known in 1589 by Baptista Porta when he mentioned the principle in his book “Natural Magic”. Johannes Kepler mentions Camera Obscura in 1604.

Camera = chambre (room), Obscura = dark (or cover).

 
     

C = Continuous shooting (when you hold the shutter release down).

CMOS sensor (as used in Leica CL, Leica T/TL/TL2, Leica M 240, Leica M-P 240. M-E 240, Leica M Monochrom Typ 246, Leica S Typ 007, Leica SL, Leica Q, Leica Q2, Leica M10, 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.

Contrast - The degree of difference between tones in a picture. Latin contra- ‘against’ + stare ‘stand.’

Depth - Distance between front and back. Distance from viewer and object.

 
  Lens distortion looks like this. The lines are not straight. Our eye uses distortion correction. Lens designers can design lenses so they have very little distortion, or they can make less complicated lens designs and "fix" the distortion in software.
   

Distortion = In photo optics/lenses: When straight lines in a scene don't remain straight because of optical aberration.

Lens designers can correct for distortion to a degree so the whole image field is perfect corrected and all lines remain straight. In modern lens design many designs rely on Software Distortion Correction (SDC).

The eye adjusts for distortion so we always see vertical and horizontal lines straight when we look at things. Even when you get new prescription glasses (if you use such), you will often experience distortion in your new glasses. After a few days they eyes have adjusted for the glasses and the distortion you saw to begin with is now gone. Software Distortion Correction (SDC) is far behind what the human eye can perform of adjustments. (Also see my definition on Perspective for more on the eye and optics)

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.

A raw file (or DNG) is simply the full recording of digital data (1's and 0's) from the sensor. In the computer, the sensor data is translated into the exact colors, via a camera profile.
A raw file (or DNG) is simply the full recording of digital data (1's and 0's) from the sensor. In the computer, the sensor data is translated into the exact colors, via a camera profile.

DOF = Depth of Field. This is how much of the image will be in focus or "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). 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. The DOF scale measurement on top of the Leica lenses 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).


Depth Of Field scale from Fujifilm.

Dynamic range. The grade of ‘contrast range’ (or number of tones) a film or sensor, or simply a photograph, possess between bright and dark tones. The human eye is said to have a dynamic range of 10-14 ‘stops’ (but because we scan area by area and compile a concept of the overall scene, they eye is often thought to have a much higher dynamic range), Film used to have 7-13 ‘stops’ and some modern sensors have up to 15-17 ‘stops’.

EVF = Electronic ViewFinder. A viewfinder where you look at a small screen through optics/prisms. The advantage is that you see what the sensor sees. In the Leica M 240 you buy the EVF as an acessory and mount it on top in the hotshoe when you want to use it.


The EVF (Electronic Viewfinder) on the Leica SL 601.
The EVF (Electronic Viewfinder) on the Leica SL 601.

 

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.

f/ (f-stop, also known as aperture).

f- (focal length). Often given in mm, for example 90mm. In the past they were often given in cm or inch, for example 9.5 cm or 3.2 inch.

f-stop = 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., f/8, indicating that the focal length is eight times the diameter of the aperture hole: 50mm/8 = 6,25 mm); or the other way around, the hole is the focal length divided with 8).
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.


The aperture blades inside the lens is clearly visible in this photo by Eolake Stobblehouse.

Flare = Burst of light. Internal reflections between (and within) lens elements inside a lens. Mostly, flare has a characteristic "space travel" look to it, making it cool. Particularly in older lenses with less or no coating of the glass surfaces to suppress this, it can be a really cool effect. In newer lens designs, the coatings and overall design try to suppress flare and any reflections to a degree, so that there is seldom any flare to be picked up (moving the lens to pick up a strong sunbeam), but instead a "milking out" (or "ghosting") of a circular area of the frame; meaning simply overexposed without any flare-looking flares.

 

Sunlight creating (fairly supressed) flare in the bottom right quadrant of the image of a modern lens.

  The camera moved slightly to avoid the flare.

Older lenses with less coating, or without coating, are known to create flare that can look like this (Leica 50mm Summicron-M f/2.0 II Rigid model from the 1960's). © Thorsten Overgaard.
Older lenses with less coating, or without coating, are known to create flare that can look like this (Leica 50mm Summicron-M f/2.0 II Rigid model from the 1960's). © Thorsten Overgaard.

 
  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.

Focus, in - Sharp and clear in appearance. Focus - “The burning point (of a lens or mirror)”. In Latin the word focus meant fireplace or hearth. The word was probably first employed outside of its Latin literal use as “the burning point of a lens or mirror” in optics, and then came to mean any central point. The German astronomer Johannes Kepler first recorded the word in this sense in 1604.

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.

Leica Thread-Mount (LTM): Also known as M39, is the screw mounted lenses for Leica cameras. It’s a simple as that; you screw on the lens, and back in 1932, the possibility to change the lens was the big news. The M39 system was updated with the M Bayonet from 1954 for the Leica M3. The M bayonet is a quick way to change lenses and is the current mount for Leica M digital rangefinders.

Lens hood = (also called a Lens shade). A tube or ring attached to the front of a camera lens to prevent unwanted light from reaching the lens and sensor. In the past where lenses were not coated to prevent internal reflections inside the lens, the lens hood was often essential. These days where lenses are coated, the shade serves just as much as decoration and protection (bumper) as well.
ORIGIN Old English hod; related to Dutch hoed, German Hut 'hat,' also to hat.

Lens hood or Lens shade attached to the front of the lens to prevent light rays from the side to hit the optics, which could introduce unwanted light and hence reduce contrast of the image. These days where lenses are coated, the shade serves as decoration and protection as well.
Lens hood or Lens shade attached to the front of the lens to prevent light rays from the side to hit the optics, which could introduce unwanted light and hence reduce contrast of the image. These days where lenses are coated, the shade serves as decoration and protection as well. In the photo is a Leica M240 with a 50mm Summicron from the 1960's and the original ventilated lens hood.

  Bubble Level Gauge to mount onto the flash shoe.
  Bubble Level Gauge to mount onto the flash shoe.
   

Level Gauge = This is a tool in the viewfinder to see if you hold the camera 100% horizontal and/or vertical. You can turn it on in the Menu > Photo Live View Setup > Level Gauge > On.
Before level gauge was integrated as a digitized feature in modern digital camers, it was a Bubble Level Gauge / Spirit Level you put on top of the camera.
The idea is to be able to get 100% vertical and horizontal lines (because if you tilt the camera slightly, the horizon will not be horizontal, and of you tilt the camera forward or backwards, the lines of for example vertical buildings will not be vertical.

Digitized level gauger in a Leica M10-P. You tilt the camera up and down (front/back and left/right) till the level is completely straight.Digitized level gauge in a Leica M10-P. You tilt the camera up and down (front/back and left/right) till the level is completely straight.

Light = Tiny particles called photons that behaves like both waves and particles. Light makes objects visible by reflecting off of them, and in photography that reflecting off of subjects is what creates textures, shapes, colors and luminance. Light in its natural form (emanating from the sun) also gives life to plants and living things, and makes (most) people happier. So far, nobody has been able to determine exactly what light is. The word photography means “writing with light” (photo = light, -graphy = writing). Read more about light in my book Finding the Magic of Light.

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

M (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 (black and white sensor) - ME (Type 220) - Leica M (Type 240) - Leica M-P 240 - Leica M 246 Monochrom - Leica M-A (type 127, film camera) - Leica M 262 - Leica M-D 262 (without a screen) - Leica M10 - Leica M10-P.
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 "Messsucher".

M9
Leica M9 is a model name for the Leica M9 that was introduced on September 9, 2009 (as the first full-frame digital Leica M). It was the latest model designation using the M and a number. From their next model, Leica Camera AG introduced a new model system so each camera would simply be a Leica M but then with a model designation like Typ 240, Typ 246, Typ M-D 262 and so on. The idea was inspired from Apple who name their computers for example MacBook Pro and then it has a sub- model number designation which model it is (and which would define speed of processor, etc).



Leica M9

MACRO = Macro lens. The Leica Q2 lens can be turned to Macro which enables you to go close so as to enlarge smaller subjects. The word macro comes from Greek makros ‘long, large.’

Leica Q sample photo
The word macro comes from Greek makros ‘long, large.’ Leica Q in Macro mode, 1ii ISO, f/2.8, 1/500 second. © 2015 Thorsten Overgaard.

Mandler, Dr. Walter (1922 - 2005)
Legendary Leica lens designer and CEO of Ernst Leitz Canada (ELCAN) 1952-1985. Read more in Leica History.

Dr. Walter Mandler (center) at the Ernst Leitz Camera factory.
Dr. Walter Mandler (center) at the Ernst Leitz Camera factory.

Megapixel (or MP) - Millions of pixels. See pixel further down. How many units of RGB is recorded by a given sensor by taking height x widt. A Leica M10 delivers a 5952 x 3968 pixel file = 23,617,536 piexls. On a screen the resolution you choose determines the size of the image. Say you have a 5000 pixel wide file and your screen is set for 8000 pixels wide. Then the image will fill only the 5000 pixels fo the 8000 and the rest will be empty, If you then change the screen resolution to 5000 wide, the image would be able to fill out the whole screen.

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.

mm = millimeter(s), as in a 50mm lens. (Earlier in lens history lenses focal length was given in cm = centimeters; as in a 5 cm lens). For anyone used to centimeters and millimeters, it’s no wonder. But if you grew up with inches, feet and yards, you may have had a hard time grasping what a 50mm lens was. But as lenses were designed first in Europe, the metric system with centimeters and millimeters was used to describe lenses.
The reason a 50mm lens is a 50mm lens is that there is 50mm from the focus plane (the film or sensor) to the center of focus inside the lens. When photography was a young subject, it was engineers who made it all, and the users were expected to understand. The engineers were so into the making of the lenses, that it apparently never dawned upon them that today’s users would think of a 21mm lens as a wide angle lens rather than a lens where there is 21mm from the sensor to the center of focus inside the optics.

No.
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.

Noctilux = Also known as "King of the Night" because "Nocti" means Night and "Lux" means Light. The f/1.0 lenes from Leica are named "Noctilux". The first Leica Noctilux lens was the 50mm Noctilux f/1.2 which shortly after it's introduction was improved to the 50mm Noctilux f/1.0. In the current model the f-stop has been improved further to f/0.95.
"Noctilux" 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"

The Noctilux "King of the Night" lens. From left the 0.95 in silver (same on the camera, in black, the f/1.0 in the back and the rare and expensive first model, the f/1.2 in the front.
The Noctilux "King of the Night" lens. From left the f/0.95 in silver (same on the camera, in black), the f/1.0 in the back and the rare and expensive first model, the f/1.2 in the front.

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.

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.

Optic = Eye or vision. From French optique or medieval Latin opticus, from Greek optikos, from optos ‘seen.’

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).

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

Perspective - The way objects appear to the eye; their relative position and distance. Also, selective focus (foreground and background out of focus) can change the perception of perspective (also see Three-dimensional). A wide angle "widens" the perspective and makes objects further away appear smaller than they are to the eye; and objects closer, relatively larger than they are to the eye. A tele lens will "flatten" the perspective and often objects further away will appear relatively larger than close objects than they are in real life. A 50mm lens is the one closest to the perspective and enlargement ratio of the human eye.

 

Perspective is relative position and distance. As here where the girl in front is more than two times taller than the people walking, and 8 times taller than the people in the far background. Also, the parts of the buildings closer to the viewer are "taller" than the parts of the same building further away. Late afternoon sun in Denmark. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.
Perspective is relative position and distance. As here where the girl in front is more than two times taller than the people walking, and 8 times taller than the people in the far background. Also, the parts of the buildings closer to the viewer are "taller" than the parts of the same building further away. Late afternoon sun in Denmark. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.

 
  Vanishing points are the points where lines meet. This is how you make perspective in paintings and drawings (and some times make movie sets or theatre stages appear more three-dimensional than they are)
   

Painters works with vanishing points, which is where the lines meet, so as to create an illusion of perspective and three-dimensional effect on a two-dimensional painting or drawing.

The human eye corrects for perspective to an extreme degree. We always see vertical lines vertical and horisontal lines horisontal: The eye has a angle of view equivalent to an 8mm wide angle lens, a size ratio equivalent to a 50mm lens and we focus on relatively small area of the viewing field - one at the time. Three things happens that are worth paying attention to:

1) We compile areas of our view that we focus on, to one conceptual image that "we see". Ansel Adams, the great American landscape photographer pointed out that a large camera used for landscape photography capture every detail in focus and sharp so you can view it in detail after; but the eye does not see everything in focus when you try to compose the landscape photography, the eye scans only one part at a time and stitch the idea together. This makes composing or prevision of a landscape photography challenging.

2) We compile areas of our view that we individually adjust the exposure of. A camera adjust the exposure of the whole image frame to one exposure. That's why what looks like a nice picture to the eye of houses in sunshine with a blue sky above, becomes a photograph of darker buildings with a bright white sky: The camera simply can't take one picture that compare to what we "compiled" with our eyes, adjusting for each type of light.

3) Objects (on a table, for example) in the bottom of our viewing field will appear 100% perspective corrected - to a degree that it is impossible to correct in optics, with or without software correction. A wide angle lens, even with little distortion, will exaggerate the proportions of the closet part so it - to the eye - looks wrong.

 

Perspective distortion: Comparing these two photographs you can see how the cup stretches in the 28mm wide angle photograph compared to the 50mm photograph. Both actually has a little stretch because both the cup is in the edge of the frame in both photographs. © 2017 Thorsten Overgaard.
Perspective distortion: Comparing these two photographs you can see how the cup stretches in the 28mm wide angle photograph compared to the 50mm photograph. Both actually has a little stretch because both the cup is in the edge of the frame in both photographs. © 2017 Thorsten Overgaard.

Pixel - Made up word from Pix (picture) and el (element). A pixel is the smallest full-color (RGB) element in a digital imaging device. The physical size of a pixel depends on how you've set the resolution for the display screen. The color and tonal intensity of a pixel are variable, meaning that each pixel contains RGB. This is different from a camera sensor's small eyes (photosite) that are an intensity of either red, green or blue. You could say that the digital sensor's photosite (where each unit collects just one color; red, green or blue) is the input technology, whereas the pixels on a screen (where each pixel contains red, green and blue) is the output device. So while sensors are measured in megapixels (mega = million), it's their output unit of pixels, and not the input unit of photosites that is measured and stated. See illustration below.

Here's an illustration of how light goes into photosites that each record either R, G or B and then - combined - makes up one pixel containing RGB. © Thorsten Overgaard.
Here's an illustration of how light goes through a color filter that enables the underlying photosites to each record if it';s an R, G or B color - combined - makes up one pixel containing RGB. © Thorsten Overgaard.

RF
(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.

S = Single image. When the ring by the shutter release on top of the camera (or in the menu of a digital camera in case it does not have this ring on the ourside) is moved from OFF to S, the camera takes only one photo at the time (Single). The other possibility is Continuous where the camera takes pictures continiously as long as the shutter release button is helt down. (see above).

Saturation: How colorful, intense or pure the color is. Less saturation would be less colorful, more saturation would be more colorful. In today’s photography, de-saturating a photo on the computer will gradually make it less and less colorful; and full de-saturation would make it into a black and white photo.

A photo from Verona, Italy de-saturated, normal saturated and over-saturated. © Thorsten Overgaard.
A photo from Verona, Italy de-saturated, normal saturated and over-saturated. © Thorsten Overgaard.

Sensor = A device that detects a physical property (like light) and records it. A camera sensor is a plane plate with thousands of small “eyes” with (photosites) a lens in front of each (CFA, Color Filter Array), which each individually records the amount of red, green and blue light rays that comes through the lens. Together, Red, Green and Blue form all colors of the spectrum, which becomes a pixel. Sensor comes from Latin sens- ‘perceived’.

Shutter speed dial - The dial on top of the Leica M where you can set the shutter speed manually. It can also be set to A which stands for Aperture Priority (where the camera suggests a shutter speed; or when you move the dial away from A, the camera will show arrows in the viewfinder, suggesting which direction to change the Aperture to, to get the correct exposure).

SDC (Software Distortion Correction): In Lightroom the correction profile for the Fujinon 23mm is applied automatically and cannot be turned off. If you go into Develop mode in Lightroom and look under Lens Correction > Profile, you will see a message in the bottom with an exclamation mark. When you click on that, you get the message above.
Shutter speed dial set to 1/1000 of a second.

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.

Summicron = Refers to the maximum lens aperture - here f/2.0 . There are many guesses how this name came about, a popular one being 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). Vario-Summicron, Vario-Elmarit is Leica Camera AG's name for zoom lenses, for example the Vario-Summicron f/2.0 as the one that is on the Leica Digilux 2.

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 Q2 the lens is f/1.7 but is called a Summilux because it is closer to f/1.4 than f/2.0.

Three-dimensional = Having the three dimensions of height, width and depth. In photography and lens design, three-dimensional effect is also the perception of even small micro-details; the texture of skin can appear flat and dead or three-dimensional and alive. Also, selective focus (foreground and background out of focus) can change the perception of depth. Also see Perspective.

Three-dimensional = Having the three dimensions of height, width and depth. Melrose Avenue in Los Angeles. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.
Three-dimensional = Having the three dimensions of height, width and depth. Melrose Avenue in Los Angeles. Leica TL2 with Leica 35mm Summilux-TL ASPH f/1.4. © 2017 Thorsten Overgaard.

Ventilated Shade - A shade is a hood in front of a lens that provides shade from light going straight onto the lens from outside what you are photographing, which could cause internal reflections like flare, which would make the picture less contrasty.
The ventilated shade has holes so it doesn't obstructs the view from the viewfinder. In many of today’s mirrorless cameras where there is no viewfinder looking ver the lens, so there is no actual need for a ventilated shade; but they are considered classic or vintage looking and are still in high demand. It makes no difference for the purpose of the shade (to create shadow) if it is ventilated or not.


Ventilated Shade for the Leica Q. I make ventilated shades for most lenses and sell them from here.

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".

 


   
   

 

– Thorsten Overgaard

   


 

 

Index of pages covering Leica M9, Leica M9-P, M-E, 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 Monochrom 20 21 22 23   25 26 27 28                   29   What if?
Leica M 240
30 31 32 33 34 35 36 37 38 39 40 41 42         47 48    
Leica Q 1                                  
Leica SL 1   3   5                               Books


This article section is about Leica M digital cameras that are related, but different.
Pages 1-19 is the Leica M9, Leica M9-P, Leica M-E.
Page 20 is the Leica M Monochrom and Leica M 246 Monochrom.
Page 30 and onwards is the Leica M 240, M-P 240, M-D 262 and Leica M60
(with Leica M video on page 35, 36 and 37).


leica.overgaard.dk
Thorsten Overgaard's Leica Article Index
Leica M cameras:   Small Leica cameras:
Leica M10   Leica Q full-frame mirrorless
Leica M10-P   Leica CL
Leica M Type 240 and M-P Typ240   Leica TL2
Leica M-D Typ 262 and Leica M60   Leica Digilux 2 vintage digital rangefinder
Leica M Monochrom Typ246 digital rangefinder   Leica Digilux 1
Leica M Monochrom MM digital rangefinder   Leica Sofort instant camera
Leica M9 and Leica M-E digital rangefinder   Leica Minilux 35mm film camera
Leica M9-Professional digital rangefinder   Leica CM 35mm film camera
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 SL and TL lenses:
Leica 50mm Summilux-M ASPH f//1.4    
Leica 50mm APO-Summicron-M ASPH f/2.0    
Leitz 50mm Summicron-M f/2.0 "rigid" Series II   Leica R lenses:
Leica 75mm Noctilux-M ASPH f/1.25   Leica 19mm Elmarit-R f/2.8
Leica 75mm Summilux-M f/1.4   Leica 35mm Elmarit-R f/2.8
Leica 75mm APO-Summicron-M ASPH f/2.0   Leica 50mm Summicron-R f/2.0
Leica 90mm APO-Summicron-M ASPH f/2.0   Leica 60mm Macro-Elmarit f/2.8
Leica 90mm Summarit-M f/2.5   Leica 80mm Summilux-F f/1.4
Leica 90mm Elmarit f/2.8   Leica 90mm Summicron-R f/2.0
Leitz 90mm Thambar f/2.2   Leica 180mm R lenses
    Leica 400mm Telyt-R f/6.8
Leica Cine Lenses:   Leica 35-70mm Vario-Elmarit-R f/2.8
Leica Cine lenses from CW Sonderoptic   Leica 35-70mm Vario-Elmarit-R f/4.0
     
     
History and overview:   Leica S:
Leica History   Leica S1 digital scan camera
Leica Definitions   Leica S2 digital medium format
Leica Lens Compendium   Leica S digital medium format
Leica Camera Compendium    
The Solms factory and Leica Wetzlar Campus   "Magic of Light" Television Channel
    Thorsten von Overgaard YouTube Channel
     
Photography Knowledge   Thorsten Overgaard books and education:
Calibrating computer screen for photographers   Thorsten Overgaard Masterclasses & Workshops
Which Computer for Photographers?   Lightroom Survival Kit (Classic)
What is Copyright? Advice for Photogarphers   Lightroom Presets
Synchronizing Large Photo Archive with iPhone   Capture One Survival Kit
Quality of Light   "Finding the Magic of Light" eBook (English)
Lightmeters   "Die Magie des Lichts Finden" eBook (German)
Color meters for accurate colors (White Balance)   "The Moment of Impact in Photography" eBook
White Balance & WhiBal   "Freedom of Photographic Expression" eBook
Film in Digital Age   "Composition in Photography" eBook
Dodge and Burn   "A Little Book on Photography" eBook
All You Need is Love   "After the Tsunami" Free eBook
How to shoot Rock'n'Roll   The Overgaard New Inspiration Extension Course I
X-Rite   The Overgaard Photography Extension Course
The Origin of Photography    
Hasselblad/Imacon Flextight 35mm and 6x6 scanner   Leica M9 Masterclass (video course)
Leica OSX folder icons   Leica M10 Masterclass (video course)
    Leica M240 Masterclass (video course)
    Leica Q Masterclass (video course)
Bespoke Camera Bags by Thorsten Overgaard:   Leica TL2 Quick Start (video course)
"The Von" travel camera bag   Street Photography Masterclass (video course)
"Messenger" walkabout bag    
"24hr Bag" travel bag   Thorsten von Overgaard oin Amazon:
"The Von Backup" camera backpack   "Finding the Magic of Light"
     
     
Leica Photographers:    
Jan Grarup   Riccis Valladares
Henri Cartier-Bresson   Christopher Tribble
Birgit Krippner   Martin Munkácsi
John Botte   Jose Galhoz
 
Douglas Herr   Milan Swolf
Vivian Maier  
Morten Albek    
Byron Prukston   Richard Avedon
     
The Story Behind That Picture:   Thorsten Overgaard on Instagram
More than 200 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 M10 / M240 / M246 User Forum on Facebook   Heinz Richter's Leica Barnack Berek Blog
Jono Slack   Leica Camera AG
Steve Huff Photos (reviews)   Leica Fotopark
Erwin Puts (reviews)   The Leica Pool on Flickr
LeicaRumors.com (blog)   Eric Kim (blog)
Luminous Landscape (reviews)   Adam Marelli (blog)
Sean Reid Review (reviews)   The Leica User Forum
Ken Rockwell (reviews)   Shoot Tokyo (blog)
John Thawley (blog)   I-Shot-It photo competition
     
 
 
The Von Overgaard Gallery Store:    
Hardware for Photography   Von Overgaard Ventilated lens shades:
Bespoke Camera Bags and Luxury Travel Bags   Ventilated Shade for Current 35mm Summilux FLE
Software for Photography   Ventilated Shade E46 for old Leica 35mm/1.4 lens
Signed Prints   Ventilated Shade for Leica 50mm Summilux-M ASPH
Mega Size Signed Prints   Ventilated Shade E43 for older 50mm Summilux
Mega Size Signed Limited Prints   Ventilated Shade for 35mm Summicron-M ASPH
Medium Size Signed Limited Prints   Ventilated Shade for older 35mm/f2 lenses
Small Size Signed Limited Prints   Ventilated Shade E39 for 50mm Summicron lenses
Commisioning Thorsten Overgaard Worldwide   Ventilated Shade for Leica 28mm Summilux
Thorsten Overgaard Archive Licencing   Ventilated Shade for current 28mm Elmarit-M
Video Masterclasses   Ventilated Shade for older 28mm Elmarti-M
Photography Books by Thorsten Overgaard   Ventilated Shade E49 for 75mm Summicron
Home School Photography Extension Courses   ventilated Shade E55 for 90mm Summicron
Overgaard Workshops & Masterclasses   Ventilated Shade for 28mm Summaron
Artists Nights   Ventilated Shade for 24mm Elmarit
Gallery Store Specials   Ventilated Shade E60 for 50mm Noctilux and 75/1.4
 

 


 

Above:Are you Experienced? Joy Villa as Jimi Hendrix. Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2013 Thorsten Overgaard.

 

Leica logo

LEItz CAmera = LEICA
Founded 1849 in Wetzlar, Germany.

 

Feel free to join the
Leica M Type 240 User Group
on Facebook

 

Quick links:

Basic Menu setup
for the Leica M Type 240

How to install firmware update

Which memory card to get

Formatting memory cards

Frames per second (frame rate)

Black and White JPG and Color DNG at the same time

Digital color filters for black & white

Recovering lost JPG, DNG and video files from SD-cards

Leica models (comparison)

Compressed DNG or
Uncompressed DNG?

What is DNG..?

Latest Leica M Type 240 Firmware
update from Leica Camera AG

Camera Raw 7.4 Beta and later
(with support of Leica M 240)

 

Leica M9 & Leica ME firmware

 

 

<---
To read "Photokina 2012 - First Impressions of the Leica M240" read Page 29

 

Thorsten von Overgaard
Thorsten von Overgaard in Berlin.
Leica M Type 240 with Leica 50mm Noctilux-M ASPH f/0.95.
Photo by Jose Salcedo.

 

The photos on this page have been edited in Adobe Lightroom 3.6 and few or none have been adjusted further in Photoshop. To read more about my workflow, visit the page of my "Lightroom Survival Kit".

 

 

 

Also visit:

Overgaard Photography Workshops
Von Overgaard Gallery Store
Ventilated Shades by Overgaaard
Leather Camera Straps
Camea Bags
Calfskin Camera Pouches
iPad and Computer Clutches
Leather Writing Pads
Books by Thorsten Overgaard
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 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 75mm Noctilux-M ASPH f/1.25
Leica 90mm Summicron-M ASPH f/2.0
Leica 35-70mm Vario-Elmarit-R f/2.8
Leitz Cine lenses
7artisans 50mm f/1.1
Leica Digilux 2

Leica M10
Leica M10-P
Leica M10-D
Leica M9, M9-P and Leica ME
Leica M 240
Leica M 240 for video
Leica M 262
Leica M-D 262
Leica M Monochrom
Leica M 246 Monochrom

Leica SL
Leica SL2
Panasonic Lumix S1R
Leica R9 dSLR
Leica Q
Leica Q2
Leica CL
Leica TL2
Leica Sofort
Leica S digital medium format
Leica X
Light metering
White Balance for More Beauty
Color Meters

Screen Calibration
Which computer to get
Sync'ing photo archive to iPhone
Lightroom Survival Kit
Lightroom Presets by Overgaard
Capture One Survival Kit

Capture One Styles by Overgaard
Signed Original Prints by von Overgaard
The Story Behind That Picture
"On The Road With von Overgaard"

Von Overgaard Masterclasses:
M10 / M9 / M240 / Q / TL2 / S1R /

 

 

 

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 thorsten@overgaard.dk for
advice, ideas or improvements.

 

 

 

     
Buy eBooks by
Thorsten Overgaard
     
"Finding the Magic of Light"   "A Little Book on Photography"
Add to Cart  

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"The Leica Q Know-All eBook"   "The Moment of Emptional Impact"
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"The Freedom of Photographic Expression"   "Composition in Photography - The Photographer as Storyteller"
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The New Photography Extension Course"   "New Inspiration Extension Course"
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"Lightroom Survival Kit 7"   "Capture One Pro Survival Kit"
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Video classes
     
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LR Presets
     
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Lightroom Presets Leica TL2   Lightroom Presets Leica Q
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Lightroom Dutch Painters Presets by Thorsten Overgaard    
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"Hollywood Film Presets"
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Leica Presets for Lightroom by Thorsten Overgaard   Leica Styles for Capture One by Thorsten Overgaard
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Photo seminars Berlin Copenhagen and Hong Kong

     
     

Join a Thorsten Overgaard
Photography Workshop

I am in constant orbit teaching
Leica and photography workshops.

Most people prefer to explore a
new place when doing my workshop.
30% of my students are women.
35% of my students dotwo or more workshops.
95% are Leica users.
Age range is from 15 to 87 years
with the majority in the 30-55 range.
Skill level ranges from two weeks
to a lifetime of experience.
97% use a digital camera.
100% of my workshop graduates photograph more after a workshop.

I would love to see you in one!
Click to see the calendar.

     
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Cannes  

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Reykjavik   Portugal
Roadtrip USA   Milano
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     







 

Photo seminars Berlin Copenhagen and Hong Kong



 


 


 

 

     
Buy eBooks by
Thorsten Overgaard
     
"Finding the Magic of Light"   "A Little Book on Photography"
Add to Cart  

Add to Cart

     
"The Leica Q Know-All eBook"   "The Moment of Emptional Impact"
Add to Cart  

Add to Cart

     
"The Freedom of Photographic Expression"   "Composition in Photography - The Photographer as Storyteller"
Add to Cart   Add to Cart
     
Extension Courses
     
The New Photography Extension Course"   "New Inspiration Extension Course"
Add to Cart   Add to Cart
     
"Lightroom Survival Kit 7"   "Capture One Pro Survival Kit"
Add to Cart   Add to Cart
     
Video classes
     
Leica M9
Masterclass
  Street
Photography
Masterclass
(Preorder here)   (Preorder here)
     
"Leica TL2 Quick-Start Video Course"   "Leica Q Video Masterclass"
Add to Cart   Add to Cart
     
"Leica M10 Video Masterclass"   "Leica M 240 Video Masterclass"
Add to Cart   Add to Cart
     
LR Presets
     
Lightroom Presets Leica M10   Lightroom Presets Leica M9
Add to Cart   Add to Cart
     
Lightroom Presets Leica TL2   Lightroom Presets Leica Q
Add to Cart   Add to Cart
     
Lightroom Dutch Painters Presets by Thorsten Overgaard    
Add to Cart    
     
"Hollywood Film Presets"
Add to Cart    
     
Hemingway Presets for Lightroom by Thorsten Overgaard
Add to Cart    
     
Leica Presets for Lightroom by Thorsten Overgaard   Leica Styles for Capture One by Thorsten Overgaard
Add to Cart   Add to Cart

 
           
  · © Copyright 1996-2019 · Thorsten von Overgaard


 

© 1996 - 2019 Thorsten von Overgaard. All rights reserved.

 

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