Leica Noctilux 50mm f/1.0

Hasselblad X-Pan II

Polaroid Sx-70 Alpha 1 Gold Edition

This website is dedicated to my own personal fine art projects. I am not a professional photographer. I certainly could pursue photography commercially but I think it would lose the magic that has captured my attention this long. I enjoy photography for the art of it – and the fact that my images make some money, is a bonus.

In my own personal work – I do almost exclusively location based shooting. I don’t have (or enjoy) the benefits of having a controlled studio environment. In fact – quite the opposite, as I tend to enjoy shooting in long since abandoned locations.

There are a few factors I take into consideration when picking out primary camera gear for any of my projects. The first is size. I had been shooting mostly professional Canon cameras – as their portability and durability on location could not be matched.

However – their flexibility was a trade off for limited resolution and dynamic range. I moved to digital medium format in 2007, working exclusively with a Mamiya 645AFDII + Leaf Aptus 75s digital back. The size of the MF kit was quite large and bulky to be comfortable in the urbex environment. Not to mention – shooting in very low light levels was NOT its strong suit.

Example image from an exploration using the Mamiya and Leaf Aptus 75s Back

The Leica S2 seems to be quite the happy medium.

Considering the fact that the Leica S2 houses a sensor 56% larger than the Canon 5dmkii, I find it surprising that the size of the cameras with comparable lenses (180mm on the Leica, 24-70 2.8L on the Canon) was almost identical.

Furthermore, the S2 is fully weather sealed. Leica claims that it actually exceeds the standards set by the Canon 1ds line. In a previous issue of LFI magazine, it was exclaimed that the S series lenses underwent a cycle in the dishwasher – in order to reinforce the idea that this camera is meant for the cleanest – and not so cleanest – conditions.

…

The camera arrives…

It had been at least 4 months since I had sent off my digital medium format kits and two Leica bodies (an M7 and an MP – both ala carte demos) to my friend Duncan in the Netherlands…

I sent them to him in exchange for a store credit equal to the exact cost of the Leica S2-P, Two lenses, two batteries, the dual charger, and the grip.

After months of waiting… the day finally came.

On Christmas Eve, I get the following email:

OK it is not “on time” at your place BUT the complete kit with both the lenses did arrive here in my shop especially for you !!!! So in other words, I’ve got YOUR S2-P here with both the 70 and 180mm lens !!!

English may not be his first language, but Duncan at Foto Henny Hoogeveen in the Netherlands is one of the most amazing photographic resources I have ever known.

Between his own love of Leica – and his years working his shop – the man is a walking encyclopedia for the camera fanatic. Not to mention – he’s more than happy to make a deal – whether it’s cash, trade, or a combination of both.

I am not a sales rep for him. I don’t get a commission for the plug. I am just sharing my experience with those who may be interested. I have purchased from other dealers and other locations – but my experience was NEVER like it has been with Duncan…. And I’ve been a loyal customer since 2007 – and nearly $100,000 worth of equipment has exchanged hands since.

I was able to acquire the 4^th commercially available M9 – his first shipment – from him… and I even paid $200 less than it would have cost me due to the exchange rate into Euros.

And of course – he held my hand through the seemingly endless waiting process for the first ever Leica S2-P.

Yes. I am the owner of the worlds first ever commercially released Leica S2-P.

In his own words…”Indeed you got the very first one !!!”

That’s THREE (3) exclamation points. How can one possibly argue with that?

I had my girlfriend and her sister model for the video of the un-boxing.

Admittedly, for me – the stereotypical man fantasy of making porn – got lost in translation when stripping the Leica S2-P of it’s packaging. But perhaps you will enjoy it:

(There will be a link to a posting of the video unboxing)

Day 1: Shooting at Yonkers

With less than 2 months left until my thesis deadline, I needed to continue shooting at the abandoned greenhouse in Yonkers, NY.

Though I had chosen to use the Leica M9 and the .95 Noctilux lens specifically for this project – I decided to test out my new S2-P – in an actual shooting situation.

Sunrise at Yonkers was at 7:20. Dawn was 6:49. The temperature was hovering around 20 degrees… well below freezing and well below my comfort level, despite being dressed in layers.

Up until this point – I have never had a problem with a Leica or a professional level Canon camera not working properly due to cold weather. Though the S2’s biggest fan, I was not confident that it would operate properly in the cold. I was wrong.

Both the Leica M9 and the S2-P performed flawlessly at temperatures hovering less than 20 degrees Fahrenheit.

…

Instead of my usual one model, Emily Therese, I went with two: Emily and her sister Catherine.

Dennis, one of my thesis advisors, had been really on my back about expanding my model pool. Though I am not one to put all of my eggs in one basket – I have yet to find any additional model who can add something to this portfolio – and do so on a consistent basis.

Catherine had modeled for me previously:

Emily and I knew that she would be an excellent match for this project. Additionally, keeping the weather in mind – the models dressed in layers (unlike previous trips)… which led to the need for coats.

This led to us using a particular coat – which as it turns out – will be a cornerstone of the thesis. But I digress…

…

So there I was in Yonkers, NY at sunrise with two models at an abandoned greenhouse as the sun was rising.

I had been using the M9 and .95 noctilux for these shoots previously – with a setting of 1600 iso – while shooting wide open. It quickly became apparent that at f2.5 and a chip that maxes out at 1250 (and arguably isn’t usable past 800 – so says other reviews) would not work in the low light circumstances of sunrise without a tripod.

So I started the shoot with the M9 and the Noctilux… until it got bright enough to shoot comfortably hand held at 640iso (the highest I felt comfortable working with).

I did later switch it to 320iso – so that I could minimize the noise. Though, surprisingly there wasn’t any there at either setting. This was kind of a disappointment and caused me to have to add texture to the images in post processing to get the feel that I had with the higher iso in previous photos.

…

Initial thoughts…

The camera is light but very solid. I would equate the experience to driving my father’s BMW 500 series car. It seems like you are going 30 when you are hitting the speed limit… and though it seems light and graceful, I wouldn’t want to be in between it and a wall upon impact.

It was a great feeling having it in my hands. It really felt as if it was built to match my grip. I find other cameras either too small or too large to grip comfortably. This – without the grip – was snug. I dug it.

…

Admittedly, I was worried that the 180 lens would make the camera front heavy. It did. Though, not nearly as much as I had expected – even best case scenario.

I have the Canon 200 1.8L IS lens. It’s a beast. You cannot hand hold that lens for very long – unless you got forearms of steel. It requires a monopod (at least) and even has the collar attachment to screw one on.

But this lens was not like that. It was more like the 70-200 2.8L IS. Big. Solid. But not heavy.

…

I purchased a Zero Halliburton case – that should be big enough to hold the camera, batteries, lenses, and grip

(when it comes). It should be small enough to be considered a second carry on (purse, laptop, backpack)… since my first carryon is a zero halliburton luggage piece that fits the overhead compartment of most planes perfectly.

I just love the case I have for my M9 kit.  The S2 had to match.

…

So lets talk lenses.

The lenses were the best I have ever used.

I thought Dave Farkas was drinking the kool-aid when he wrote that on his blog. How could these lenses be better than the already amazing lenses that they had previously developed… when these lenses need to be larger to cover the extra surface area… and in that amount of glass, there’s gotta be a lot of room for error.

I used the 70 2.5 and the 180 3.5…

The auto focus system snaps to the correct position almost instantly upon pressing the appropriate button.

But if you don’t trust it – or  you wanna dial it into a specific spot manually – you can grab it and tweak it – and it’s just the right tension.

Not to mention it’s sharp.

Wide open.

I did not even take it off wide open. I didn’t need to. The shutter speed range was more than adequate – and worst case, I would close it down a bit – but would rather use ND filters than close it too much.

The bokeh is pleasing.

It’s not the Noctilux. Either version. But it’s certainly something noticeably pretty. Especially the 70mm… for a 70mm.

It reminds me of the bokeh I get with old Zeiss lenses that I have converted to Canon mount from Contax or the like… Very pleasing… round… I can’t really explain it but to show you.

…

The 70mm lens is my perfect working distance. I generally shoot 50mm (both on my Leica M9 and on My Canon full frames) – and the angle of view for this lens is about equivalent to 56mm on a 35mm system (70 is the normal lens for this system).

The 180mm lens was a bit of a challenge for me. I like to be up in the action – not far away. And the 180mm lens kept me a few feet further from the scenes than I felt comfortable.

I thought about getting the 35mm but figured that for the commercial and portraiture work I do – a 180 may be the best bet. Plus, the 35 may not be out anytime soon.

The 180mm – though it doesn’t have the close focusing capacity of a macro – certainly has the bokeh and ability to capture sharp details wide open that is typical of most high end macros. It was the better choice for me – and probably the more mass appeal choice – since they decided to release both first.

…

I have been quoting Dave Farkas quite a bit. I have never met the guy – though recently bought a .95 Noctilux from his store – but I certainly respect and admire his knowledge and understanding of his craft.

He writes…

The S2 files are crisp and clean. There isn’t the faintest trace of murkiness in fine details. CA is almost non-existent. Edges are clearly defined with no softness or haziness. Diagonals are precise with no stair stepping. Gradients are smooth. There is a complete lack of noise at low ISO, even into the shadows, but the files have amazing texture and subtlety to them. Yes, details are razor sharp, but transitions are just so gentle and graceful. Skin is rendered beautifully. Leaves on trees in the distance are clear and defined. Textures are perfectly rendered. Out of focus areas are buttery smooth. (directly stolen from his blog – but correctly attributed – so that’s gotta count for something).

…

Like buttah.

Seriously.

If I knew a thing about optics and engineering – I would go for the look that the folks at Leica have achieved with this system.

…

Battery life…

I spent an hour shooting with the S2 – pretty much continuously – in cold temperatures – and the battery icon only showed one click of use.

That was amazing.

I have been using the Canon 5dmkii’s lately for their HD video capacity (when not using the Red One) and I had gotten use to changing batteries constantly.

I had not used my 1ds in a long time – and forgot the amazing power of those 8 hour batteries… and how awesome it was not having to worry about having enough spares.

The Leica S2 – will not have these worries either.

The video was taken on a Canon 5dmkii + 50mm 1.0L lens. I took it on a whim – so I didn’t use proper lighting – nor did I care to use a very large depth of field. It’s the unboxing… not a major motion picture.

My girlfriend asked me… why are you using a canon to shoot the leica? Because the canon shoots video… and frankly – thats all I am going to use it for.

Starting with focal length:

A lens with a focal length approximately equal to the diagonal size of the film or sensor format is known as a normal lens; its angle of view is similar to the angle subtended by a large-enough print viewed at a typical viewing distance of the print diagonal, which therefore yields a normal perspective when viewing the print. If the frame size is 24mm x 36mm, the diagonal is 43.267mm.

Most manufacturers market the 50mm lens as the normal lens (despite being a few mm larger) as it is the optimum focal length that has zero distortion. The problem is that a 50mm lens only affords a 46-degree field of view that is significantly less than the human field of vision – which would be closer to a 24mm lens. However, if we were to use such a wide-angle lens our images would suffer significant distortion that does not appear when using a normal lens. Our brains have the ability to compensate for this distortion – however the camera does not. Therefore the 50mm lens is considered to be optimal, due to lack of distortion.

Aperture:

Computing the f-number of the human eye involves computing the physical aperture and focal length of the eye. The pupil can be as large as 6-7mm wide open, which translates into the maximum physical aperture. However, the entrance pupil is typically about 4 mm in diameter, although it can range from 2 mm ( f/ 8.3) in a brightly lit place to 8 mm ( f/ 2.1) in the dark.

There are many 50mm lenses that are f/2.1 or faster. The race for the optimum optic started in Japan in 1953 with the introduction of the Zunow 1.1/50mm lens, followed in 1954 with the Fujinon 1.2/50mm. These lenses were offered in both Canon and Leica screw thread mounts. Comparably, the 1.1 and 1.2 were a significant difference from a previous standad of 1.5. Canon and Nikon responded in 1956 with a 1.2/50mm lens with seven elements (canon) and a 1.1/50mm lens with nine elements (Nikon). Though Nikon and Canon were focusing on SLR development, Canon did introduce the .95/50mm lens for the Canon 7 in 1961.

Canon then introduced a 1.2/58mm lens that utilized aspherical surfaces in 1971. The first series used aspherical surfaces that were grinded by machines that were manually operated. Only later (but long before Leica) did Canon switch to a fully automatic grinding process.

An aspheric lens or asphere is a lens whose surfaces have a profile that is neither a portion of a sphere nor of a circular cylinder. The asphere’s more complex surface profile can reduce or eliminate spherical aberration and also reduce other optical aberrations compared to a simple lens. A single aspheric lens can often replace a much more complex multi-lens system. The resulting device is smaller and lighter, and possibly cheaper than the multi-lens design. Aspheric elements are used in the design of multi-element wide-angle and fast normal lenses to reduce aberrations.

According to Canon’s original advertisement for the .95 lens “holds razor sharpness even at full aperture” In fact the Canon lens wide open is a good practical example of the working of spherical aberration. Spherical aberration is an optical effect in lenses that occurs due to the increased refraction of light rays when they strike a lens or a reflection of light rays when they strike a mirror near its edge, in comparison with those that strike nearer the centre. It signifies a deviation of the device from the norm, and results in an imperfection of the produced image.

Spherical aberration should not be confused with barrel distortion; whereas barrel distortion affects the shape of the image, spherical aberration affects its sharpness.

A high-speed lens with optimum optical sharpness is the desired pinnacle for any camera system. The marketing argument has been focused on the use in low ambient/natural light or even the absence of illumination where the just hand-holdable shutter speed could be the dividing line between a good and a lost picture.

Almost every design relied on spherical lens surfaces and the designer needed additional lens elements and more exotic properties and/or daring shapes to get a decent quality at the widest apertures. The pictures that could be made with these lenses could be described as acceptable only with a benevolent approach. Canon went over the top with its 0.95/50mm lens for its rangefinder camera.

Around 1965, several manufacturers abandoned the rangefinder format, leaving Leitz as the sole survivor. Leitz took this opportunity to produce a lens to rival the Canon .95 lens – the last viable lens of that type on the market.

Their research into the design options indicated that the only solution for a lens that combined a compact mount with good performance was to use aspherical surfaces. The aperture of the original Noctilux was set to f/1.2. A wider aperture required a bigger mount and it might also be assumed that the size of the lens elements was too large for the aspherical grinding process.

The successor of the original Noctilux widened the maximum aperture to f/1 and used only spherical surfaces. The performance wide open was better than what the Canon .95 offered., perhaps due to the new glass types available to the Leica Designers.

The Noctilux 1/50mm stayed in production from 1976 until 2008 when a new version was produced. The designers opted for the .95 aperture – an 11% increase in pupil diameter – providing significant need for chromatic correction. The new Noctilux .95 has a more rigorous correction of aberrations over the entire field. Wide open the differences are less pronounced with the previous version, but interesting enough to analyze. The design of the lens is state of the art with a floating element, aspherical surfaces and a selection of new glass types specifically selected for this design.

Wide open the lens shows a certain softness of major subject outlines. The lower contrast of the high frequencies (fine textural details) softens the edges of the low frequencies (outlines of major subject shapes). Stopping down to 1.2 does improve the overall contrast; even more so at 1.4. Though, contrast is also modified in post processing.

At F/.95, it should be clear that this lens outperforms the human eye in terms of allowing more light to expose our frame. However, the Noctilux is special for two other reasons beyond its speed. The first is its freedom from flare. Even with light shining almost directly into the lens, flare is minimal. Considering the conditions for usage of such a lens – this is a remarkable quality.

Secondly, is the extremely narrow depth of field when shooting wide open. Depth of field is measured in inches – as opposed to feet – and consequently the background will be that much more out of focus. The Noctilux, by design, renders out of focus areas very smoothly, rendering an almost impressionistic quality to those areas.

This impressionistic quality allows the artist to compose the elements of the photograph accordingly. The gaze of the viewer will then tend to linger over these points of interest. Elements are arranged with consideration of several factors (known variously as the principles of organization, principles of art, or principles of design) into a harmonious whole that works together to produce the desired statement — a phenomenon commonly referred to as unity.

Some principles of organization affecting the composition of a picture are:

* Shape and proportion
* Balance among the elements
* Harmony, or consistency among the elements
* The orientation of elements
* The area within the field of view used for the picture (“cropping”)
* The path or direction followed by the viewer’s eye when they observe the image.
* Negative space
* Color
* Contrast: the value, or degree of lightness and darkness, used within the picture.
* Geometry: for example, use of the golden mean
* Rhythm
* Illumination or lighting
* Repetition (Sometimes building into pattern; rhythm also comes into play, as does geometry)
* Perspective
* Breaking the rules can create tension or unease

The position of the viewer can strongly influence the aesthetics of an image, even if the subject is entirely imaginary and viewed “within the mind’s eye”. Not only does it influence the elements within the picture, but it also influences the viewer’s interpretation of the subject.

A subject can be rendered more dramatic when it fills the frame. There exists a tendency to perceive things as larger than they actually are, and filling the frame fulfills this psychological mechanism. This can be used to eliminate distractions from the background.

In photography, bokeh is the blur, or the aesthetic quality of the blur, in out-of-focus areas of an image, or “the way the lens renders out-of-focus points of light.” Differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting— “good” or “bad” bokeh, respectively. Bokeh occurs for parts of the scene that lie outside the depth of field. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it often associated with such areas. However, bokeh is not limited to highlights, as blur occurs in all out-of-focus regions of the image.

Some companies tweak the features. At Leica, we transform the concept. That’s why the introduction of the flagship Leica S2 is not merely an incremental advance. It is nothing less than a watershed event that sets an entirely new performance standard for professional digital SLRS.

With a custom 37.5-megapixel, 30 x 45 mm sensor that is 56% larger than full frame, it establishes parameters of imaging excellence that are well beyond those obtainable by conventional pro-caliber DSLRs. In the Leica tradition, it utilizes the classic 3:2 aspect ratio that corresponds to the human field of vision and is widely acclaimed as the “Leica Format.”

In designing this brilliant new camera, Leica’s engineers took a close look at the best existing DSLR designs and then synergized them into a radical but practical new camera that combines the performance parameters of a medium-format digital camera with the ergonomics, form factor, and handling ease of a 35mm SLR. The result is the new Leica S2, an entirely new, finely crafted, professional tool developed in-house by Leica with hands-on input from some of the most renowned professional photographers in the world.

It incorporates an advanced new dual shutter system with in-body focal-plane shutter for fast lenses, and in-lens leaf shutters for high flash sync speeds, an ultra-high-precision autofocusing system, a new series of lenses designed for the highest possible performance with the new sensor, and a Maestro image processing system that provides twice the speed of comparable medium-format backs, reduces power consumption, and provides in-camera JPEG capability. Remarkably, all of this has been incorporated into a camera that is smaller than a full-size professional 35mm SLR, and still has the unmistakable look and feel of a Leica.

Like Leica cameras of the past, we designed the new Leica S2 from the inside out, and its robust styling is a classic example of form following function. We began with a cutting-edge, large-format CCD sensor and literally configured the camera around it rather than adapting existing technologies. In this way we achieved a new level of performance without sacrificing size or convenience. Yes the S2 Leica is our latest masterpiece, an unequivocal statement to the world that showcases our technological prowess. But it is more than just a technological tour de force.

It is a statement of Leica’s continuing pre-eminence in the world of imaging that goes back nearly 100 years. Perhaps that is why our top executives in Germany have compared the announcement of the Leica S2 to the debut of the first Leica, the legendary model A in 1925. That seminal camera did nothing less than redefine 35mm photography in the 20th century and we believe that the Leica S2 may well do the same for DSLR photography in the 21st.

With Salzburg ACM Projektentwicklungs GmbH as its new owner, Leica Camera AG is entering a new era. Following in-depth and successful re-structuring, the business can now concentrate on investing in new products. Leica has made a quantum leap in the field of digital technology, enabling it to combine the advantages of highly developed digital technology with the classic Leica values concerning optics, mechanics and optimal image results.

The result of this is uncompromising cutting-edge technology; the LEICA S2 is the first to offer all these things to professional digital photographers. The LEICA S system sets the trend for future Leica products in terms of technology and leads the way for future product ideas from Leica Camera AG.

Leica Camera AG today announces the world’s first digital rangefinder camera with a full-frame 24 x 36mm sensor. As the world’s smallest full-frame system camera, the LEICA M9 continues the long heritage of the Leica rangefinder system, and unites more than 50 years of continuous technical improvements to the M System with cutting-edge digital technology.

The successful combination of a high-resolution image sensor, the superior performance of Leica M lenses and sophisticated processing ensures the best imaging results, making the camera perfect for all fields of photography from reportage and ‘available light’ to the capture of discreet, spontaneous images.

The 18 megapixel image sensor, specifically designed and developed for the M9, enables capture of the full 35-mm film format without any compromise. All M lenses mounted on the LEICA M9 therefore offer the same focal length as originally intended, and the enormous potential performance of the current M lens portfolio, with focal lengths from 16 to 135mm, is now fully exploited in an M digital camera for the very first time.

Furthermore, the M9 sensor features a newly developed glass sensor cover designed to guarantee the suppression of the infrared portion of the light spectrum, avoiding the need to mount special UV/IR filters.

Leica has listened to photographers’ requests for quick access to essential features on the M9. One example is the new ISO adjustment button, which simply requires the user to hold down the ISO button whilst turning the dial to select the required setting – rather than having to access it via a menu. In addition, all other functions important for everyday photography are accessible by pressing the set button.

At just 139 × 37 × 80mm, the LEICA M9 maintains the compact size of the LEICA M8, despite the considerably larger sensor. The robust, one-piece, full metal housing, made from a high-strength magnesium alloy, combined with a solid brass top and bottom plate, provide perfect protection for the camera in all photographic situations. For photographers, this all adds up to absolute reliability over decades of use.

The LEICA M9 is available in two different styles: a standard black with ‘vulkanit’ finish, and for the first time, a version in steel-grey with classic leatherette finish.

M9 Sensor

The CCD, specially developed by Kodak for the LEICA M9, has been optimised to exploit the particular qualities of the Leica M lens system. As a result, the LEICA M9 achieves the highest resolution values, which in turn guarantee outstanding image quality.

The M9 sensor employs further advanced and meticulously-designed micro lenses with a low refractive index. The micro lenses at the sensor edges are laterally displaced towards the image centre to match the characteristics of M lenses precisely. This optimised micro lens design captures and concentrates even the most oblique rays on the sensor, and reliably prevents image brightness fall-off at the edges and corners of the image. As a result, all existing Leica M lenses maintain their full performance when used for digital photography.

A moiré filter has not been integrated, allowing full exploitation of the superb resolution of Leica M lenses. Any moiré patterns occurring are eliminated in the camera’s signal processing software. The optimised signal–noise ratio reduces the need for digital post-processing, and results in high-contrast, high-resolution exposures with natural colour rendition from corner to corner.

Lenses

Performance criteria, such as the individual coating of each element, have long been a Leica standard. For the first time, the immense performance potential of the M lenses is fully maintained and can be exploited for digital photography. In line with Leica’s commitment to system compatibility, almost all Leica M lenses built since 1954 can still be used on the new M9, as a result of their mechanical and optical precision.

The M9 sensor demands a particularly high spatial resolution, as offered by the latest M lenses. Their high resolution and efficient correction of optical aberrations make them all the more suitable for digital use. Current M lenses are supplied with a 6-bit code on the bayonet mount that is scanned optically by the M9. Using this coding, the M9 can compensate for any vignetting effects, if required. In addition, the lens type is recorded in the EXIF data and, when using the latest flash units such as the LEICA SF 58, automatically adjusts the reflector to match the focal length of the lens attached.

The viewfinder / rangefinder system

The Leica viewfinder / rangefinder system sets the LEICA M9 apart from SLR and compact digital cameras and makes it particularly suitable for reportage, ‘available light’ and discreet portraiture. Photographers become part of the action and frame their subject in the viewfinder, while still being able to see the full scene outside the viewfinder frame. The decisive moment can be anticipated and captured at precisely the right instant, resulting in particularly authentic images.

The clear view of the subject remains during the full exposure and, even in the most adverse lighting conditions, the bright, high-contrast viewfinder guarantees extremely fast and precise focusing. The minimal delay between shutter release and capturing the shot, together with the viewfinder / rangefinder system, positions Leica M cameras amongst the fastest in the world.

Shutter

The LEICA M9 features a new, microprocessor-controlled, particularly silent, metal-leaf, focal-plane shutter that enables shutter speeds of up to 1/4000 seconds. This means that the photographer still has complete creative freedom by using selective focus at maximum apertures, even in bright situations. The short flash synchronisation speed of 1/180 seconds enables daylight flash exposures with selective focus.

Together with its compact form, the camera’s almost silent shutter is another enormous advantage for discreet and unobtrusive photography. Photographers can also select the appropriate moment for re-cocking the shutter. When longer exposure times requiring an extremely steady camera stance are essential, a slight pressure on the shutter release button in ‘soft release’ mode is sufficient.

Intuitive handling

The M9 offers a simple, clearly laid-out and intuitive menu system that concentrates purely on the essentials; eliminating any multifunction buttons or complex menu hierarchies. The key control is an intuitive four-way switch and dial combination that enables fast menu navigation. Pressing the set button calls up the capture menu on the 2.5″ monitor, and the most commonly-used functions are quickly and easily set in the menu: sensor sensitivity, exposure correction, white balance, image-data compression and resolution. Furthermore, favourite profiles can be named and saved for quick and easy access.

Sensitivity ranges from ISO 80 for wide-open apertures on bright days to ISO 2500. Very low-noise and finely detailed images are achieved throughout the sensitivity range, even at the highest settings, while the low noise characteristics, low-vibration shutter and fast lenses make the M9 the perfect camera for ‘available light’ photography.

Innovative flash technology

The LEICA M9’s M-TTL flash technology enables both precise and creative control over flash and mixed lighting effects. Prior to the actual exposure, a measuring flash is emitted that is metered through the lens. The flash power is then precisely determined according to the natural lighting situation. Due to the precise and delicate level of flash illumination, the natural lighting mood is maintained. In combination with aperture priority exposure mode, the auto-slow sync function ensures a particularly subtle lighting of the subject.

Tonal value histogram

The LEICA M9 offers an RGB tonal value histogram, which can be displayed at any time for image assessment, and is available in conjunction with automatic image review. A clipping warning indicating any overexposure of the image is also included. These two quality control tools are updated during zooming, allowing the quality of even the finest image details to be assessed.

Digital workflow

Adobe Photoshop Lightroom, a professional digital workflow solution for Apple Mac OS X and Microsoft Windows, is available as an online download for all LEICA M9 customers. Adobe Photoshop Lightroom offers a vast range of functions for the management, processing and presentation of digital images, whether in JPEG or DNG format. If the images are saved as raw data in Adobe Digital Negative Format (DNG), Adobe Photoshop Lightroom guarantees direct and high-quality image processing with maximum image quality. The 14-bit-per-channel colour information captured by the image sensor is maintained throughout the processing workflow until the final presentation, and ensures that the most delicate tonal differences are preserved.

Build quality and materials

Experienced Leica technicians in Germany are responsible for the assembly and calibration of the M9 camera bodies, as well as the precise testing of all mechanical and electrical components. In addition to the solid brass top and base plate and magnesium alloy body, several other structural features of the camera will ensure a long and reliable working life. The rechargeable battery and SD card slot are protected from dust and moisture under the base plate, while the locking mechanism prevents unintentional opening and the possible loss of the battery and SD card, even under the hardest reportage conditions.

Sensor cleaning

The LEICA M9 offers a special function for manual sensor cleaning: selecting the appropriate item from the menu and pressing the shutter release locks the shutter open to allow access to the sensor for cleaning purposes. Thanks to the short register of Leica M cameras, the sensor is easier to access than in a DSLR camera, where the sensor is located behind the mirror box and shutter assembly.

Pricing and availability

The LEICA M9 will be available in the UK from 9 September 2009 at a suggested retail price of £4,850 inc VAT.