Leica M Type 240 Digital Rangefinder Camera - Page 38

Leica Digital Camera Reviews by Thorsten Overgaard
Leica M11 /M11-P	1	2	3	4	5	6	7	8
Leica M10 / M10-R	1	2	3	4	5	6	7	8
Leica M 240	P	30	31	32	33	34	35	36	37	38	39	40	41	42	43	44
M 246 Monochrom	26	27	28	29	30	31
Leica M-D 262	1	2
Leica M9	1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16	17	18	19	20		M9-P
M Monochrom	20	21	22	23	24	25
Leica SL / SL2	1		3		5	6	7
Leica SL3	1
Leica SL3-S Leiac SL2-S	1
Leica Q	1
Leica Q2 / Q2M	1
Leica Q3	1	2
Leica Q3 43 APO	1	2	3
Leica TL2	1	2
Leica CL	1	2
Leica D-Lux 8	1

By: Thorsten Overgaard. August 19, 2014. Latest update, August 15, 2023.

The way I use the Leica M240

Let's just say I used to be a photographer in a past life and I got to play with all this new and magic technology back then. The wooden boxes with bellows, silver salts, sparkling lenses that would capture life and light with the same detail as the best Johannes Vermeer paintings, balancing wooden tripods on dangerous mountain sides and view the world from under a black cloth.

The former owner of the Italian delicatessen store Salumeria Italiana in Boston, Mr. Erminio Martignetti sits most days in the store and greets cutomers, wearing a stylish hat and suit. His son and a team of very italian staff runs the business these days. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.

Back when a darkroom was one of the most private places in the world and a great place to take a lady and a bottle of wine and impress with the wonders of photography while the gramophone player filled the air with waltz music.

The technical side of photography was so much more exotic back when photography was young than today where more than every second photography page on the internet is discussing pixels rather than the actual image.

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The Emotional Impact of Photography

It is often forgotten that what hits you first when you see an image, is the emotional impact. It always was, and that is why some of the greatest photographs throughout time are also not a great display of technical superiority. Nobody ever discussed how Henri Cartier-Bresson achieved such sharpness and amazing shadow details; simply because he never did achieve any of that.

Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2014 Thorsten Overgaard.

Technical skill alone can reach so high a level that that alone is enough to impress. But when it does, it usually boils down to the photographers skill rather than which firmware version the camera used.

There was a what the heck moment to photography back when it was pure magic that a camera could display the world upside-down on a matte screen, not to speak of the what the heck! moment many have experienced (and a few still do) when the image appear on the paper in the darkroom wet baths.

Leica M 240 with Leica 21mm Summilux-M ASPH f/1.4.

Today the technology of photography is no big wonder. There is not many such moments today with the few exceptions of getting the first Leica camera, seeing the first print come out of an Epson printer or viewing the first images from a brand new camera.

Mainly, what photography is about today, is making photographs. As simple as that. One should know the basics of photography and ones tools so perfectly that one can produce photographs, but the main attention should be on seeing, preserving and sharing emotions.

Emotions.

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

The Reason to Photograph

So many of my workshop students have as a fundamental reason to photograph, to preserve beauty. The number of busy people I know who take the time to buy a camera and learn how to use it, so that they may capture moments of beauty, surprises me. They are busy, and yet they take on the task of showing others beauty in the daily life that to most people is a repetition of the previous 365 days.

Why would anyone spend money and time doing that? Shouldn't it be people's own damn problem to see beauty?

"Home, Sweet Home" - I was waiting for someone to walk into my composition on a street picture in Boston when I turned left and saw this photo behind me. I had been walking for two hours in wet snow and my face, hair, glasses, camera and viewfinder were so wet I could hardly focus. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. © 2014 Thorsten Overgaard.

It is in photography as in most areas of life you deal with, that you are trying to help others. The fundamental reason someone would spend their whole life running a shoe store is that they fundamentally want to help others get great shoes. If you are aware that this is what you do, and you are good at it, that's happiness. If you get sidetracked and think you are selling people shoes to make money so you can buy a car, you are not really helping anyone, and that's unhappiness.

Istanbul 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

I think I never met a single person who had as a goal to utilize all 24,000,000 pixels on their sensor with the best dynamic range possible.

One of the things that make me happy about photography is that I can actually capture moments of hope and beauty and that I have an audience to show them to. I can share what I see and how I see it.

Boston portrait session, February 2014: When I was in Boston, I saw the back of a woman in a fashion store, working her big afro in a mirror. I went in and asked if I could photograph her. She wouldn't, but we talked and exchanged information. Two days later I came to get a shirt for Princess Joy and she said she knew I would come back. Her sister was there, and she said she should let me photograph her. So we agreed to meet and do it.
But then something came in the way, maybe shyness again, and it didn't happen. So I talked to her, and she agreed to come the following day before I had to leave Boston. And finally I got to shoot this shy woman who everybody turns their heads to look at on the street and quite a few has tried to capture but never succeeded. This beautiful women is 64 years old.
Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

Over the years I have seen that it doesn't really matter if the moments are in black & white or color, if they are made with 3 megapixels or 37.5 megapixels. I think it is safe to say the happiness is not in the magapixels or the firmware version.

What matters is the emotional impact of the image. That is what hits me by images I stop to look at, and it is the images I sell the most of. Emotional impact.

Sometimes people's comments surprise me. After a long day of walking in Istanbul we stopped to zone out in a cafe. My daughter Robin Isabella stole my iPhone and sat upstairs, and I did this photo in a haze of tiredness and in an attempt to capture the light and the streetlife outside. When two people referred to "the amazing photo of Robin on her phone" as the Holy Grail and that if they could do something like that, they would be happy, I had to go back to find out which photo they talked about. It was just a snap and having been there, I would have thought of better ways of doing it. But I can also take the viewpoint of others and see what they like about it. They don't know the circumstances or what it could have been - or what I might have tried to do but didn't succeed in. They just see the photo that is, and they like it. That's all you need to know. Take a note.
Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

It is also the reason I stop on the street and take a picture. Because, deep behind all the human mechanics of it, I recognized a possible moment now or in the imminent future I could preserve as a moment of hope and beauty.

Maybe the most advanced I have gotten in photography is that I have stopped wondering about what I see and stopped doubting that I saw something: I simply trust that when I have an instinct to photograph something, it may very well be exactly that. One of those moments that either will go by unnoticed and unpreserved, or one of those moments I capture that make you wonder, "How the hell did he do that?"

Sunset over the Da Vinci Bridge in Rome, Ponte Vittorio Emanuele II. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

The long answer to a short question

The short answer is that I took the picture.

The longer answer is that I was ready, and that I took the picture. And this is how:

First of all, many photographers have a thing with hit rate and being good enough. You think some day you will be able to take 40 photos in a day that are all master shots, because that is kind of the idea you get when you look at an exhibition or a photo book and see the master shots. You somehow think they did them all on the same roll of film.

Reality is that every photographer who ever did any master shots only did a relatively few good photos and even fewer great photographs in a lifetime.

Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

The famous photo of the "Napalm girl" by Huynh Cong 'Nick' Ut of Associated Press was taken on June 8, 1972 with his Leica M2 and Leica Summicron 35/2 on a Kodak 400 ISO B&W film. The photo very much changed the view on the Vietnam war, though President Nixon doubted its authencity - he thought it might have been 'fixed'. The 9-year old girl in the photo, Phan Thi Kim Phúc, survived her burnings from the napalm bombing after 14 months in the hospital. The photographer took her to the hospital before he delivered the film to AP. She later founded an organization to help children of war. The image won the Pulitzer Price.

If you look through the negatives, slides or digital files you will see plenty of photos out of focus, too over-or underexposed, empty streets (because the subject hasn't entered the frame yet or has left before the photographer pressed the shutter release button). And mainly, when you study the really great photos that define history, you will see that the photographer actually fired quite a lot pf photos of the same scene.

The napalm girl, the dying soldier, the kiss and more are all one great iconic image from a series of images.

The famous ones that aren't made from a series of images most likely was because there was no time or possibility to get more than one try.

Frame no 23 of 24 on a roll of film that is all about the same image. The contact print of Elliott Erwitt in the book Magnum Contact Sheets.

"It takes a lot of photographs to make one good one," as Elliot Erwitt says in the book Magnum Contact Sheets where one can see the 24 pictures of the same subject he took to make one good one. And he wasn't referring to only the 23 other similar pictures on the film. He was talking about all the work he did the days and years before.

I am in a period where I study photographers lives, career and business model. I notice that Henri Cartier-Bresson had a period from 1931-1934 where his images was clearly inspired by cubism and he did some really inspiring and impressive work. He seemed very enthusiastic.

Then he had a period with quite a lot of Mexican women that were mostly nude (which I guess was also an enthusiastic period. They are not generally known), then a serious political period. And then he had a period of commercial success doing portraits and reportages, but seemed less enthusiastic about it himself. And eventually he went back to painting.

1932 - Cubism		1933 - Cubism
1934 - Spanish  and  Mexican  women		1946 - Reportage
1961 - Portraits		1996 - Painting

The irony being that when he finally could spit out Henri Cartier-Bresson photographs and got well paid for them, the enthusiasm was gone.

The book Henri Cartier-Bresson: "Here and Now" that went along with the 2014-exhibition in Paris of Henri Cartier-Bressons paintings, drawings, movies, poetry and photographs gives a good idea of what went on behind the scene in his life.

As an overall observation, many photographers have done some excellent work in the beginning when their eyes were fresh and mainly their enthusiasm to the medium was superior to their technical skills. And when they finally knew exactly what to do and how, they had kind of lost the enthusiasm or had forgotten what it was they originally wanted to tell.

Often great photographs happen when you are just having fun or experience happiness in life. Think of Elliot Erwitts Califiornia Kiss and how that happened?

Romance on Ponte Vittorio Emanuele II bridge in Rome, June 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

Maybe what you have to work on is your enthusiasm rather than technical skills. Except of course, that understanding the medium better and gaining control of a new technical skill, say getting the light right each time, is also a source for enthusiasm.

Not much different than a 16 year old who is too young to conquer the world but wants nothing else than exactly that. And the same guy when he is 40 and realizes he has achieved all materialistic and monetary goals, or at least somewhat can predict how well off he will be the next forty years. Nothing more to fight for, just a lot more of the same.

Pablo Picasso could be said to be an ideal. When he was in his 80's he lived and produced as if he was an enthusiastic teenager. With the experience of a lifetime.

How do you stay enthusiastic and keep creating that life spark? Wouldn't it be helpful to have a 16 year old enthusiasm, and at the same time all the experience to make it go right?

Wet snow and another one of those where you see the picture and just have to wait for someone to step into their place to make Charles Dickens alive. Boston, February 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. See the Story Behind That Picture: "The Boston Dazzle" for more.

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Reboot and be what you originally were meant to be

The interesting thing in the subjet of photography is that it doesn't follow the normal rules. You can be unexperienced and functionally illiterate when it comes to what a megapixel exactly is, how it looks and where it sits in the camera.

If you can stop worrying about all the stuff you think you need to know before you will be able to take great photographs, and just take some, it will be much easier and less frustrating.

I have yet to learn a lot more to understand what it is that makes a "good Thorsten von Overgaard photo". I will have a photo that many people like and some buy, and I have only clues as to what it is that makes it work.

In the beginning you would think sharpness, proper control of tones, the right lens and a decent camera would count. Maybe a five year cycle of introduction in some German photography school, plus a couple of years of art history in some French school would make you able to take good photos? All these things you think you need, before you can start.

But the fact of the matter is that most photographers are clueless to what worked, when they made a great photograph.

My son Oliver with his wife, Brittany, July 2014. Leica M 240 with Leica 50mm APO-Summicron-M ASPH f/2.0.

So you listen to what people say. To me, some will say, "Your pictures make me happy" and I look at my pictures and try to understand what on earth is it they see?

Others will say to me, "It's so elegant" and I look at my pictures and try to guess which ones they were referring to and what they meant by it.

After years of this, you start being able to recognize a good photo. And the awful truth is that you can't learn it in a school or by reading a book. You learn it by taking pictures.

What you realize is that the photos people like the best are usually the ones that just happened, and the ones that were the fun ones to do. The uncomplicated ones.

Istanbul, May 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

Staying true to your own goals

Having goals, knowing to some degree what they are, and following them honestly is the source of enthusiasm. When I try to accomplish what someone else than I think is important, my enthusiasm is less.

I am very fortunate to be able to live as an artist and do (only) what I think should be done, the way I would like to do it. The mass media is a dying race, they don't commission photographers as they did back when, and their rates reflect it. You get $8 for an image in a magazine, and the picture distribution agency takes the 70%. Which is why I stopped working with Getty Images in 2012 and pulled my archive of photos from there. They are now my own to be determined later what to use them for, and all they got is the ones they commissioned me to do.

Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95. See the Story Behind That Picture: "The Best Hair" for more.

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Traveling with my Leica

But mainly I look ahead. I take more than 40,000 photographs a year and edit them down to somewhat 4,000 final images that I send to clients/magazines or store them in my archive. The majority of what I do is taking pictures and storing them in my archive for later use in books, articles, archive sale, exhibitions and prints.

Content is the king. You got content, you will find ways to use it. If you want to make an interesting media, website or book, you have to have content. That's why the mass media is dying; they don't create original content anymore.

So many things will happen in the future. Look where New York Times was 20 years ago, and look where they are today. In the meantime, a single photographer with a Canon has built his Humans of New York with 9 million followers on Facebook (it was 1 million 18 months ago when I stumbled into him on the streets of New York and was photographed by him) and 50,000 - 250,000 likes on each of his human stories, documenting the human condition. Curiously enought, the UN sent him out to document the everyday life of people on a 50 day portrait/reportage trip now.

I met Noor Mufeez from Kingdom of Bahrain in Rome when having lunch in Rome. I asked if she would let me do a photo, so we sat her on a chair in the middle of the street and did a few photos. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

Note that it was him and not an experienced New York Times photogarpher that was sent out on a 50 day reportage travel to ten countries to show the world. The noteworty part of the story is that he started out without any idea why, with worried parents (as is how a great idea always starts), with just an idea he wanted to pursue.

Enthusiasm!

The Times They Are A Changin'. In my book, the only fair goal to follow is your own. That's the key to enthusiasm, to doing it right and making something that might make sense to someone else now and tomorrow.

The Fort Harrison Hotel in Clearwater, Florida where The Rolling Stones originally wrote "I Can't Get No Satisfaction". July 2014. Leica M 240 with Leica 50mm APO-Summicron-M ASPH f/2.0.

I wish I was like you

On dark days I can look at Elliot Erwitt photos and think, "I should have more dogs and humor!". Or I can look at Helmut Newton and think, "I should have a twist of something kinky to my photos" as he always has. Or I can look at Ralph Gibson and think "I should work with nude women, shadows and textures" as he does.

In other words, I should do nude women with kinky dogs in funny situations, with interesting textures and light!

Istanbul, May 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

The reason this wouldn't work is that it's not original. It's something made-up and trying to be.

What works is being yourself and take the photos you see. That's what is original and unique.

What does work is inspiration. To look at the world, the coffee cup, the people and dogs passing by, the images in books, magazines and newspapers.

Lyle Mitchell is traveling the world with his Polaroid camera. I met him in a park in Sydney in December 2013 and took this photo of him before we got acquainted. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95.

Talent

Which reminds me that when I used to look at a group of photographers in my workshop the first day, I thought I could predict who would do really cool photos.

Having seen hundreds of people I can tell that you can never tell from their experience, look or attitude who does really great photos.

Sometimes they are 16, sometimes they are 80, sometimes they walk too slow, fumble and talk too much to notice what's going on around them. Some have a lot of money, some don't. Some have a background in graphic design, others have been working in a ships engine room for years.

A gentleman in Rome, May 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

You would think that the smart dressed graphic designer with the cool glasses would make those type of photos. But then when you see their photos, you realize the quiet guy in in the beatup sneakers did some really amazing photos.

The short answer is that they took the picture.

The longer one is that they did whatever they did, the way they do things, and photographed what they saw. As simple as that. That is factually what works. Photographing what you see.

"The Wind in the Willows", Italy, 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

The reason why

I try to study artists and photographers to see what their breakthrough(s) were; what incidents in their career lead to the success we later take for granted. I look at why they began, what inspired them, how they worked. What was their masterpiece(s)?

In the case of Steve McCurry his masterpiece is the Afghan Girl from 1984. For Henri Cartier-Bresson it is the jumping man at Place de l'Europe in 1932. For Elliot Erwitt it is his California Kiss from 1955. And so on, and often there are more than one masterpiece defining a career. Leonardo da Vinci's masterpiece was Mona Lisa. For Paul Wolff one could say there is no single photo that is his masterpiece, his masterpiece was consistency in producing high quality photographs and building an archive of such photos (which unfortunately burned).

Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95

There is the beginning where they may discover a camera by accident, or meeting a mentor by accident. Then later comes the commercial success where some patron came an artists to support, a great magazine editor, a wealthy private collector, a company that commissioned them, or some incident happened in their life that made their career take off.

In all cases it is not the society as a collective that recognizes them, but one or a few persons that recognizes them and has the power to make them. In the case of Vivian Maier nothing such happened while she was alive; her breakthrough was when someone found her archive after she had passed and made her what she is. Few such things are planned or learned in a school; it's often coincidences.

Bangladesh, June 2014. Leica M 240 with Leica 50mm Noctilux-M ASPH f/0.95 . See the Story Behind That Picture: "A Visit to Bangladesh" for more.

Wanting to look

What could be said about them all is that they wanted to look and notice things. And what more natural extension of that basic purpose than taking a camera and preserving what you see, the way you see it?

You don't have to understand what you are doing, or why. It's more important to understand and respect how unique it is and keep doing it.

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

1: = Basically means 1 divided with. On the lens to the right, it means that the diameter of the hole throught he lens is 25mm.
We would normall call it a 50mm f/2.0 lens. The writing of 1:2/50 is a tradition from the 1800's of specifying a lens, which reveals quite a bit about the construction:
Focal length 50mm simply means that the distance from center of focus inside the lens to the focusing plane (the sensor or film) is 50mm, and the aperture of f/2 or 1:2 means that the diameter of the hole the light comes throught is 25mm (50mm divided with 2 = 25mm).
In traditional lens design, one could usually tell from looking at the length of a lens if it was a 400mm, 100mm or 35mm. Newer designs with mirrors (in tele lenses) and more corrections (in wide lenses) can make the size of the lenses shorter or longer, but the distance from center of focus to sensor in a modern 50mm lens will still be 50mm for a 50mm and 400mm for a 400mm, and so on.
See Focal length and Aperture further down for more.

35mm

a) 35mm lens is a lens that has a viewing angle of view is 63°vertically, 54° horizontally and 38° vertically within a 35mm film frame or "full-frame" 24x36mm digital format. See Focal length further down.
b) 35mm focal length: the distance from center of focus inside the lens to the focusing plane (the sensor or film) is 35mm.

	35mm film format (also known as full-frame)

c) 35mm film format (also known as full-frame in digital sensors) was a standard film format that came about in 1892 where the width of the film roll was 35mm, and it's been the most used format ever since. Only a format of 24 x 36mm is used for the photo on the film roll.
35mm film format was first used in 1892 by William Dickson and Thomas Edison for moving pictures with frames of 24 x 18mm, using film supplied by George Eastman (Kodak), and this became the international standard for motion picture negative film in 1909. Later other motion picture formats came about, such as Academy Ratio (22 x 16 mm), Widescreen (21.95 x 18.6 mm), Super 35 (24.89 x 18.66 mm) and Techiscope (22 x 9.47 mm).
The inventor of the Leica camera, Oskar Barnack, built his prototype Ur-Leica in 1913 as a device to test film stock and\ motion picture lenses and had it patented. Putting 35mm film format into a small camera gave him the idea "small negative, large print" and he decided to increase the size of each frame on the 35mm film to 24x36mm (for more detail and sharpness), and then invented an enlarger to make large prints from the small negative. The length of a film, 36 pictures, is said to have become the standard because that was how far Oskar Barnack could stretch his arms (when cutting film from larger rolls to put them into film rolls for the Leica camera).
d) 35mm equivalent is often given as a standard when talking about lenses in small compact-cameras or large format cameras with other sensor/film format than the 24 x 36mm frame. Example: A camera with a 12 x 18 mm sensor has a 14mm lens on it, and even the lens is actually a 14mm, it is specified as a 28mm lens because the viewing angle that ends up on the sensor is equivalent to a 28mm lens on a 35mm of full-frame camera.

	The Leica 50mm APO-Summicron-M ASPH f/2.0 lens

50mm

a) 50mm lens is a lens that has a viewing angle of view is 47° vertically, 40° horizontally and 27° vertically within a 35mm film frame.
b) 50mm means there is 50mm from the center of focus inside the lens to the focal plane (sensor or film).
c) 50mm lens is often compared to the human eye. Not because of viewing angle (how wide it sees) but because of size ratio (how it sees). The 50mm lens is the lens that comes closest to the size that the human eye see things. Whereas the human eye has a much wider angle of view [120-200°] than the 50mm lens [47°].

AF = Auto Focus. The idea is that the camera does the focusing itself (the word auto comes from Greek "self").

Aperture = The same function as the iris and pupil has in the eye. The pupil in the eye is the dark circular opening in the center of the iris of the eye, varying in size to regulate the amount of light reaching the retina (the sensor area inside the eye).
Aperture on a camera is the f/ stop on the camera that regulates how much light passes through the lens by increasing or decreasing the hole through the lens. On a f/2.0 lens the lens is fully open" at f/2.0. At f/2.8 the aperture inside the lens make the hole through the lens smaller so only half the amount of light at f/2.0 passes through. For each f/-stop (4.0 - 5.6 - 8.0 - 11 - 16) you halve the light. The aperture of the lens is basically the focal length divided with the f/-stop = size of the hole (50mm divided with f/2.0 = the hole is 25 mm in diameter).
Besides regulating the amount of light (so as to match the correct exposure), the aperture also affects the dept of field: , which is how deep the sharpness is. To get the sough-after photos with narrow depth of field where the background is blurry, the lens has to be wide open at f/2.0 or so. Stopping the lens down to f/8 or f/16 will result on more depth of field, meaning the background will start becoming in focus. To maintain narrow depth of field, one can use the ISO sensitivity and/or the shutter speed to match the correct exposure (as aperture is only one of three ways to control the exposure; the correct amount of light).
ORIGIN: Late Middle English : from Latin apertura, from apert- ‘opened,’ from aperire ‘to open’.

The aperture blades inside the consist of a number of blades that - as the aperture ring on the lens is rotated - narrow into a smaller and smaller hole. © Thorsten Overgaard.

	The camera in Aperture Priority Mode

Aperture Priority Mode = When the shutter speed dial on top of a Leica M 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).

APO corrected basically means that the red, green and blue has been corrected to meet more precisely in the same spot. Clarity of colors and definition of details would be the result.

APO = in lens terminology stands for "apochromatically corrected". In most lenses, optical design concentrates the focus of blue light and green light into a single plane, but red light falls slightly into another plane of focus. In APO lenses, the design and expense has been put in to making red light focus on the same plane as blue and green. Under a microscope you would see that all light subject is now in focus, creating a sharper image overall. Many manufacturers offer APO designs, but in most of these only the very center of the lens is APO corrected. Leica prides itself on making most of the frame APO corrected.
APo-correction has traditionally been used for long tele lenses (and periscopes), but in recent years APO-correction has been applied to 50mm and wide angle lenses as well. One will notice that the colors are really bright and alive, almost more real than to the eye, in lenses like the Leica 90mm APO-Summicron-M ASPH f/2.0 and 50mm APO-Summicron-M ASPH f/2.0.
Apochromat; ORIGIN early 20th century, made of the two words; apo (Greek origin, away from) and chromatic (Latin origin, meaing relating to color).

	spherical (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)

Auto- means “self”. The idea is that when a camera has auto-(something), it does that (something) by itself.

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.

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.

	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. © Thorsten Overgaard.

C = Continuous shooting. When the ring by the Shutter Release on top of the camera (or in the menu of digital cameras that doesn't have such a feature on the outide of the camera) is moved from OFF to C, the camera takes series of images as long as the shutter release is pressed down. In some cameras the speed of continious shooting can be adjusted.

Camera comes from Chambre, mostly in relation to Spanish soldiers’ rooms. Obscura means 'dark', so a dark room is basically the derivation for the word camera.

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).

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

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

CMOS sensor (as used in Leica CL, Leica T/TL/TL2, Leica M10, Leica M 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.

Collapsible - Usually refers to a collapsible lens such as the Leica 50mm Elmarit-M f/2.8 Collapsible, or Leica 90mm Macro Elmar-M f4.0 Collapsible, etc. A collapsible lens is one that can collaps into a compact lens when not in use.

The Leica 50mm Elmar-M f/2.8 Collapsible on a Leica M10-P Safari. Here extruded for use; it can collapse into the camera so as to be more compact when not in use. © Thorsten Overgaard.

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

Normal to low contrast		High contrast

D-Lux (Digital Lux) = A series of compact digital cameras by Leica Camera AG developed with Panasonic since 2003. See my article "Compact Digital Leica Cameras" and my Leica D-Lux 7 review. Lux comes from Latin and means Light.

	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 + XMP file where the RAW file contains the image information and the XMP contains the rest of information about where, how and when the picture was taken, as well as editing data when the photo is edited in Lightroom or Capture One.
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. Camera producers provide a Camera profile with their camera, and Adobe makes their own 'refined' Adobe Raw camera profile for all new cameras.

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.

Narrow Dept Of Field in use: The face is in focus, the hand in front is slightly out of focus, the background is much out of focus and blurry, reduced to an atmosphere. Leica 50mm Noctilux f/1.0 at f/1.0 and 2.5 meters distance to subject in focus. © Thorsten Overgaard.

50mm f/1.4 lens at f/1.4.		50mm f/1.4 lens at f/5.6

	The lines on this 28mm lens indicates the DOF. Here the focus is on infinity, and if the lens is stopped down to f/1.6, objects from 1.8 meter to ininity will be 'acceptable sharp'.

DOF = Depth of Field (or Depth of Focus), an expression for how deep the focus is, or (more often use to express) how narrow the area of focus is. This is how much of the image, measured in depth or ditance, will be in focus or "acceptable sharp".

The appearance of the DOF is determined by:
1) aperture (the smaller the aperture hole is, the deeper is the depth of field, and opposite, the wider open a lens you se, the more narrow will the DOF be) and
2) distance to the subject (the farther away, the larger area is sharp; the closer the subject in focus is, the more narrow the DOF gets)..
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, like f/1.4 and f/0.95 lenses, 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).
in modern cameras like the Leica SL2, the camera has a DOF scale inside the viewfinder. As DOF is the same for all lens brands and designs, only depending on focal length, distance and aperture f-stop, the camera can calculate it and show a 'digital DOF scale" in the viewfinder.

Depth Of Field scale from Fujifilm, same lens with different aperture settings from f/2.0 to f/8.0.

Depth of Field: Focus is on the flowers and the photograph on the desk and the foreground and background is blurred as the depth of field is narrow. If one stop down the aperture of the lens from f/1.4 to f/5.6, more will be in focus. If one stop down the lens to f/16 even more (if not all) will be in forcus. Another rule: The closer you go to a subject (the less focusing range), the more narrow the Depth of Field will be. © Thorsten Overgaard.

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’.

E - Diameter in Leica filters and screw diameter, as in E46 which means that the filter diameter is 49mm for this lens. In general language, one would see Ø46 used, as Ø is the general symbol for diameter.

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

Elmarit = Refers to the maximum lens aperture - here f2.8 . The name is obviously derived from the earlier (and slower) "Elmar" designation. Not every f/2.8 lens is called an "Elmarit" though, the most obvious current exception being the 50mm f2.8 Elmar-M collapsible lens which for nostalgia and marketing reasons has kept the original 1930's Elmar name (the 50mm f3.5 collapsible Elmar, manufactured 1930-59, was one of Leica's most famous and popular lenses). Vario-Elmarit (and Vario-Summicron, etc) is Leica Camera AG's name for zoom lenses.

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

The Leitz Elmax 50mm f/3,5 (1925-1961) on the Leica A camera (1925) camera. Photo by Marco Cavina.

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.

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

EXIF =Exchangeable Image File, a file generated in camera and enclosed in the image file that contains recording information on the image such as shutter speed, exposure compensation, what metering system was used, aperture setting, ISO setting, date and time the image was taken, whitebalance, which lens was used, camera model and serial number. Some images may even store GPS information so you can see where the image were taken. The data from the EXIF file continues to follow any later editions of the image and can be read in photo editing software such as Capture One and Lightroom, as well as Photoshop (go to the menu File > File Info). There is also software available that can read EXIF data from any file, like Exifdata.com.

The EXIF data is all the information about shutter speed, metering method, ISO, etc. - and then some more that you don't see on the screen (such as camera model, serial number, lens used, etc).

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.

Filters = Glass filters you put in front of the lens. A much used filter is the claer UV filter that is supposed to protects the front of the lens. Other filters are color filters that add effects to black and white photography by changing the color balance. Other filters are ND (Neutral Density) filters that reduce the amount of light coming through (used for for example video recordings as video is usuallu filmed at 1/50th second shutter speed and thus most lenses are too bright wide open. Or they are used for long exposure photography in order to record for example stars movements over the sky. Other filters are filters that create star effects, or blur the view, and almost any effect you can think of.

A traditional Yellow filter in 49mm diameter to screw onto the front of the lens. The yellow filter is used for black and white photography where it slightly darkens skies, helps to cut through haze, and improves overall contrast. Yellows and reds within the scene are also lightened.

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. Lens flare in the movie, The Graduate (1967). Lens flare in Mission Impossible Fallout (2019) Lens Flare in Star Trek (2013). JJ Abrams famously said, "I know there's too much lens flare ... I just love it so much. But I think admitting you're an addict is the first step towards recovery (ha ha)"

FLE = See "Floating Elements"

Flickering in the EVF is very normal and will apear often without the vertical lines you see in the EVF will be in the picture.

	Floating elements (a group of lenses or can also be s aingle lens element). .

Floating Elements (FLE) = Near focus correction in a lens by having a single lens or a group of lenses floating independently of the other lenses. Most lenses are born with poor performance at their closest focusing distance. Center sharpness may be good, but aberrations and corner softness increase when you’re shooting closeups. Floating elements are lens elements outside of the primary focus group that change position when the lens is focused on a close object, correcting aberrations and improving close up performance. 
Floating Elements originally was coined by Canon in the 1960's and quickly became the general term for this feature. Other brands came up with new names for the same thing, Minolta called it Floating Focusing, Nikon used the term Close-Range Correction (CRC), Leica call it FLE/Floating Elements.
Floating elements are for close-focus improvement of image quality and not for reducing "focus shift". Floating elements by themselves cannot reduce focus shift, but by reducing the impact of focus distance on performance, they give the designers more freedom in other areas - which could include minimising focus shift.
(As a side-note, when a lens "rattler when moved, it is not the floating elements "floating around" but can be the IS (Image Stabilization) elements for elense that has that, AF elements for auto focus lenses, or the aperture cage that rattles (as in the case of the Leica 35mm Summilux-M f/1.4 FLE - if you stop down the Summilux to f/16, the sound is usually not there).

	A 28 mm lens has a 74° viewing angle

Focal length = Originally focal length referred to the distance from the sensor (or film in older days) to the center of focus inside the lens (28mm, 50mm, 400mm, etc). Today one call it effective focal length (EFL) as a 400mm lens is not nessesarily 400mm long due to optical constructions that can make it shorter. The 35-420mm zoom on the Leica V-Lux 1 is for example only ca. 135 mm long. 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.

Focus shift = That the focus of a lens shifts as the aperture changes. For example, if one focus a 50mm lens at f/2.0 and then stop the aperture down to f/8, the focus may change, especially noticeable in close focusing. Modern lenses with floating elements (FLE) where the floating elements adjust for image quality in close-focusing may also help avoid focus shift.

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

Frame lines = the lines inside a viwfinder that indicates the edger of the frame. In a Leica M, the viewfinder always is as wide view as 24-28mm. A mechanical contach on the lens (triggers the camreas frame selector) so the viewfinder shows the frame line of that lens. In the Leica M, the frame lines comes in sets, so there are alwaus twop sets of frame lines shown at any time (see illustration below).
(This is different than in most cameras where you only see what the lens captures: SLR cameras was the evolution in 1940's where the image from the lens was displayed directly onto a matte screen inside the camera via a mirror. Later mirrorless cameras, the viewfinder shows the exact picture that the sensor sees through the lens).

Frame lines of the Leica M, here showing the set of 35mm and 90mm framelines.

	Full Frame is "king of photography"

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. The "full frame" technically deifinition thouhg is a sensor that camtures the full frame in one go (as the early sensors as in Leica S1 scanned the image/senor over a period of time).
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).

Ghosting = Secondary light or image from internal reflections between (and within) lens elements inside a lens. The reflected light may not always be in focus, so overall it looks like a "milked out" image. A subject in focus has brightened patches in front of it that come from reflections inside the lens. the most elementary look of ghosting is when you look in a rear-view mirror in a car at night and you see doubles of the headlights behind you (a strong one and a weaker one), because the headlights are reflected in a layer of clear glass on top of the mirror glass.

Degrees of ghosting from strong sunlight entering from outside the frame. To the right the outside light has been shielded with a shade.

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 TL2 sensor is around 100-150 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 the same 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).

6400 ISO indoor photo. With modern cameras the ISO can go to 3200, 6400, 12,800 and even higher without loss of dynamic range and without digital noise. Leica M10 with Leica 50mm Noctilux-M ASPH f/0.95. © 2017 Thorsten Overgaard.

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.

Leica L-mount bayonet.

L-mount = Lens bayonet mount introduced by Leica for the Leica T in 2014 and used for Leica TL, Leica CL and Leica SL. Since 2019 the L-mount has also been shared with Panasonic, Sigma and others who produce cameras and lenses that are compatible with Leica L cameras and lenses lenses, and vice versa.
The L-mount has a diameter of 51.6 millimeter which is big enough for any design we could wish to design, and at the same time compact enough for the L-mount to be used on compact cameras such as Leica TL and Leica CL with APS-C sensor sizes. Leica chief lens designer Peter Karbe spent years calculating this ideal size, large enouhg for any design, yet as compact as possible. Read my article "Small Camera, Large Print" (2019) with interview with lens designer Peter Karbe for more.
After Leica introduced this new bayonet mount in 2014, Nikon (Z-mount 55mm), Fuji (G-mount 65mm) and Canon (RF-mount 54mm) followed with similar new bayonet mounts, but with bigger diameter, making them less able to produce compact lenses.

A screen on a camera is often referred to as "LCD Screen" for no particular reason (illustration is the back of the Leica Q2 special limited "James Bond/Daniel Craig & Greg Williams" version (2021).

LCD = Screen. LCD itself means liquid crystal display, which is slightly irrelevant (what it is made of) as the expression is mostly used to simply mean "screen".

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.

The word lens derives from lentil, because of the similar shape.

Lens - A piece of glass or similarly transparent material (like water or plastic) that has a shape so that it can direct light rays. The word “Lens” is used both for single piece of glass as well as a camera lens with several lenses that works together. From ‘lentil’ because similar in shape.

A camera lens consists of several shaped lens elements of glass. The lenses can also be made of simple cheap plastic as in "kit lenses" (sold with a camera as a kit to make a workable cheap package), but it is mostly very exotic glass (that can be heavy or light in weight, very hard or very soft in surface (esay to scratch or very resistant) with each optical glass recipe made to develop very specific qualities in how the glass and final lens treats light. As a general rule, high quality glass is soft, which is why some lenses has as their front and back element, a non-optical lens element that is there to protect the actual optical glass from scratches. As a side noite, Leica made their own glass laboraty, The Leitz Glass Laboratory, from 1949-1989, which deveopled 35 new glass types and took out more than 2,000 patents of glass recipes from more than 50,000 experimental melts of glass. These designs, or recipes, are still used today by the lens designers to obtain very specific optical results. Other lens manufacturers in the world of course have had their glass laboratories, and today one will find an interchange of glass patents amongst production facilities that service Leica, Nikon,, Fuji and so on with optical lens elements.

Lens hood = (also called a Lens shade or Ventilated 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 or ventilated shade. In the picture is a ventilated shade with clip-on mount to a 50mm f/2.0 lens. Ventilated means it has openings that allow for view from the viewfinder.

Lens names of Leica distinguish which widest aperture the lens has:

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 on the back of the camera, or via an electronic viewfinder (EVF).

LMT - Leica Thread-Mount: 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 hwen introduced by Leica on the Leica III. 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.

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, Leica M10 Monochrom, Leica M10-R.
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".

The Leica M bayonet on the Leica M10.

M-mount: The Leica M-mount is a bayonet that was introduced with the Leica M3 camera in 1954 and has been used on all subsequent Leica M cameras, as well as on the Epson R-D1, Konica Hexar RF, Minolta CLE, Ricoh GXR, Rollei 35RF, Voigtländer Bessa, and Zeiss Ikon cameras (2019).
Compared to the previous screw mount (M39), the M mount requires a quick turn of the lens, and ithe lens is mounted. The patent for the M-bayonet ("Bajonettvorrichtung für die lösbare Verbindung zweier Kamerateile") was registered by Ernst Leitz GmbH 10 February 1950 (patent number DE853384). Hugo Wehrenfennig was credited with the invention.

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 digital rangefinder (2009). © Thorsten Overgaard.

MACRO = Macro lens. The Leica 60mm APO-Elmarit-Macro-R ASPH f/2.8 is a 60mm lens for portraits, landscapes, etc. as well as a near focus macro lens. The Leica Q lens can be turned to Macro which enables you to go close so as to enlarge smaller subjects. The Leica M cameras becomes Macro when you add a Macro ring "Oufro" or "Leica Macro M Adapter" that increases the lens' distance to the sensor. The word macro comes from Greek makros ‘long, large.’

The word macro comes from Greek makros ‘long, large.’ The Leica 60mm APO-Elmarit-Macro ASPH f/2.8 is both a 60mm lens for portraits, landscapes, etc. as well as a near focus macro. © 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.

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.

MF (Manual Focus) for lenses that are focused by hands, as opposed to Auto Focus.

Focal length is determined by the distance from focus inside the lens to sensor surface to, and is given in milliemeters (mm). © Thorsten Overgaard.

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.
(Leica and others made lenses for a while with either meter scale or feet scale; but then eventually started including meter and feet on all the lenses (two scales, usually distinguished with different colors). However, the lens' focal length remained always 50mm, 75mm and so on).
The reason a 50mm lens is a 50mm lens is that there is 50mm from the focus plane (the film or sensor surface) 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.

MP
a) Stands for Mechanical Perfection, as in the Leica M-P.
b) Megapixels (millions of pixels).
c) Megaphotosites (millions of photosites).

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

ND-filters / gray-filters.

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 "Leica Noctilux - King of the Night"

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.

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.

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 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.

The word Perspective comes from the latin word for optics (perspicere, per- ‘through’ + specere ‘to look’), and so-called Renaissance painting is simply painting done within the framework of optics and the linear perspective it presents.

Perspective is relative position and distance. The objects nearby are larger than objects far away. This is how the eye and the mind calculate distance. The eye and the camera automatically captures perspective. In darwing and painting one would see "stupid" two-dimensional drawings 500 years B.C where elements were thrown into the mix without considering that a an object far away must be smaller than if close to the viewer. The word "perspective" comes from "to look through (optics)". Pier 7 in San Francisco by Thorsten Overgaard. Leica M11 with Leica 50mm Noctilux-M ASPH f/0.95.

	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. © Thorsten Overgaard.

Perspective correction - In software like Adobe Lightroom and Capture One Pro there is often a feature to correct perspective (and distortion) like seen below. You can change perspective this way, or at least make believe: If you correct a tall building on teh vertical lines, you will notice that the height of the windows doesn't match the perspective. If the building is with straight lines, the windows should all be of the same size. But a tall building seen from below and corrected with software will have taller windows (closer to camera) in the bottom than in the top (further away from the camera originally).

Perspective correction in Adobe Lightroom. © 2017 Thorsten Overgaard.

	A graphic illustration of the typical Bayer Color Filter Array on an RGB sensor. It's called a Bayer filter because Bryce Bayer of Eastman Kodak invented the technology of filtering incoming light into RGB and distribute it into the the photosites that each read just one color (R/G/G/B).

Photosite - The unit in a digital camera sensor that records intensity of either red, green or blue. Unlike the output of a sensor, measured in pixels (and where each pixel contains RGB), the photosite records only one color each, and it's intensity (how bright it is). A photosite can not distinguish colors, which is why there is a Color Filter Array (basically a prism) above them to filter the colors and send information to the photosite if 's a R, G og B color. See illustration below. In a monochrome sensor (as in the Leica M Monochrom and the Phase One Achromatic), all photosites are recording intensity of light only as there is no concern which color it is, and there is no color filter.
The ratio of photosites to pixels is not a given. Each block of 4 contiguous photosites contains one photosite sensitive to low wavelengths (blue), one photosite sensitive to high wavelengths (red), and two identical photosites sensitive to medium wavelengths (green). So four photosites would be the minimum to create one 'full-color' pixel. Apart from that, depends on the sensor specifications, which is different from brand to brand. Sometimes four photosites (two Green, one Red and one Blue) makes up one pixel, at other times it's more photosites to one pixel; and there is also pixels sampled from photosites across (sort of overlapping patterns).

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 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.

R = Resolution, in the name Leica M10-R camera model (2020).

Rigid - Refers usually to the Leica 50mm Summicron-M f/2.0 "Rigid" of 1956.
It is called "Rigid" because, unlike the 50mm Collapsible, this one is not able to be changed.
Rigid means stiff, uable to be forced out of shape. Not able to be changed. From Latin rigere, "be stiff".
The name is a little confusion nowadays as all or most lenses are rigid today, but back in 1925-1956, many lenses were collapsible so the camera was compact when not in use. Just like compact cameras today often has a lens that extrudes when the camera is turned on, and collaps into the camera body when the camera is turned off.

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.

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’.

Sharpness - See “Focus”

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).

Shutter speed dial set to 1/1000 of a second.

	The 6-bit code on the flange of the lens is read by the sensor on the Leica M bayonet of all digital Leica M cameras since 2006. © Thorsten Overgaard.

Six-bit code (6-bit code) - An engraving on the flange of M-lenses that makes it possible for digital M-cameras to recognize the lens that has been mounted. The camera can include information on the attached lens and its focal length in EXIF data and make digital corrections for lens-specific flaws, such as color-cast or vignetting. Six-bit coding was introduced for all M-lenses sold since 2006, but many older lenses can be retrofitted with the code at Leica Camera AG in Wetzlar.

SL = Abbreviation for Single-Lens as in the Leica SL that is a camera without reflex (mirror).

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. Newer camera models has aen EVF (Electronic Viewfinder) that displays in the viewfinder what the sensor sees in real-time.

	Leitz Wetzlar Mikro-Summar 42mm f/4.5 lens anno 1910 might be the first lens carrying the name Summar.

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

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

Summarit
Refers to the maximum lens aperture - here f/1.5.

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 f/1.4 , "-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.

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

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.

Leica T is the compact camera developed by Leica Camera in 2014 as a touch-screen operated camera that can take the Leica L mount lenses made for this camera and the Leica SL and Leica CL. This camera series was names Leica TL later. See my article Compact Leica Cameras for more.

The Leica TL2 (2017) with a 35mm Summilux-L f/1.4 lens, compared with the Apple iPhone 7 Plus. © Thorsten Overgaard.

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

V-Lux is a series of compact SLR-like digital cameras by Leica Camera AG developed with Panasonic since 2006, starting with the Leica V-Lux 1 (2006), V-Lux 2 (2010), V-Lux 3 (2011), V-Lux 4 (2012), V-Lux Typ 114 (2014), V-Lux 5 (2018). See my article "Compact Digital Leica Cameras".
To add confusion, Leica also made a Leica V-Lux 20 in 2010, V-Lux 30 in 2011 and a Leica V-Lux 40 in 2012 that was a temporarily renaming of the Leica C-Lux series.

Vario- is the Leica Camera AG name for zoom lenses. Vario-Elmarit, Vario-Elmar and Vario-Summicron and so on.

The Leica 35-70mm Vario-Elmarit-R f/2.8 ASPH (left) and the Leica 35-70mm Vario-Elmar-R ASPH f/4.0 (right)

Ventilated shade on a 35mm of Elliott Erwitt's Leica MP camera.

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

WB = Short for White Balance:

White Balance = (often referred to as WB) in camera menus. See my aticle "Adjusting the White Balance in Photoraphy" for explanation, illustrations and examples.

WLAN = German short for WiFi. In camera menus, Leica may refer to WLAN, which is simply German for WiFi, (and for some reason they refuse to believe that the rest of the world doesn't call it for WLAN like they do). WLAN stands for wireless local area network.

X1 - The Leica X1 was released in September 2009, the Leica X2 in 2012, and Leica X Typ 113 was released in September 2014, all with a fixed 23mm f/1.7 lens. Leica X Vario Typ 107 and Leica X-E Typ 102 was released later. A Leica X-U underwater edition was released in 2026. See my article Compact Leica Cameras for more.

XML = Stands for extensible markup language, which is a way enclose information to a document about how to format it, and more.

XMP = Stands for extensible markup platform (also known as XMP sidecar) and is a standard developed by Adobe and standardized by the International Organization for Standardization ISO. XMP is a 'sidecar' to an image that contains the EXIF data (camera settings) as well as other data about the image recording and editing that would norally be in proprietary formats (only readable by certain software). XMP in short is a container enclosed with the image as a 'sidecar' that contains all available information (EXIF data about settings, IPTC data (who took the photo, copyright info, image captions, etc), but most noteable, the XMP allow you to include information about the editing that was performed to the raw or DNG file, so that when you open the image file in another editing software, the raw data, as well as information about the crop, exposure compensation and other editing you did to the photo, is included).
In Adobe Lightroom Classic, one should make sure to select that editing information is written to the XMP file of each image (go to Lightroom > Catalog Settings > Metadata and then click "Automatically write changes into XMP").

Zone System -A system of 11 greytones. Ansel Adams worked out the Zone System in the 1940's with Fred Archer. It may look as simply a grey scale (and it is) but it's the use that has troubled many. If you use a normal external light meter, it will give you the exact amount of light and you can expose your photograph based on that and it will be correct. 

What Ansel Adams basically did was that he studied (by measuring with a spot meter), what the exact grey tones were of the sky, the clouds, the sand, the water, the skin and so on at different times of the day.
You could say that he built up a conceptual understanding of how different materials of different colors and reflective surface would look in black and white at different times of day (or different light conditions). He also realized that a tone changes for the human eye depending on it's size and in which context of other tones it is seen. 

In short, you could say that the Zone System is know how something would look in black and white when looking at a scenery. Some who have struggled with the Zone System have done so because they think it is a rule. It is not.

How Ansel Adams made New Mexico look:		How most people see New Mexico:
The artistic use of the Zone System.

Ansel Adams developed the Zone System to understand light for himself, but also as a fundament for teaching the light, exposure and making the final photograph. How will it look if you do the usual, and what will it look like if you manipulate it. But most interstingly; how do you work with light, cameras and photographic materials to achieve the look you envision. 

The Zone System is meant as a basis on which to create your own aesthetic style and communication.  Photography is painting with light. The greyscale is our palette. Ideally we should have a conceptual understanding of the tones and be able to use them intuitive. That was his vision for us all.

Thorsten Overgaard in New York, explaining the Zone System in his "Street Photography Masterclass".

Ø - Diameter. As in Ø49 for example which means that the filter diameter is 49mm for this lens (or if a filter is Ø49, it is 49mm in diameter and fits that Ø49 lens). Leica uses E to express their filters sizes, as in E49 for a 49mm filter size.

– Thorsten Overgaard