When Leica launched the M9 in 2009, it wasn’t just a camera – it was a paean to analog purity in a digital world. The first full-frame digital rangefinder, armed with Kodak’s custom-made CCD sensor, promised the spontaneity of Henri Cartier-Bresson in pixels. Fast forward to 2024: CCDs are extinct, CMOS reigns supreme, and the M9 has become a cult relic. But like vinyl records and manual typewriters, its flaws now read like poetry.
Analog Soul, Digital Skin
1. The Classicist’s Last Stand
Optical viewfinder: Physical frame lines illuminated by sunlight, just like M3/M6. The minimalist front of the later M240/M10? Heresy.
No “modern” nonsense: No Live View, no video, just raw photography. Menu? Three pages deep, max.
2. The Red Dot Rebellion
The M9 wasn’t Leica’s first digital (see: M8), but it was the first to feel like a Leica. Brass top plate, sapphire screens – luxury for the pre-Instagram era.
In an era of computational photography, the Leica MP (2003-present) stands as a mechanical haiku—unapologetically analog, stubbornly silent. Designed not for the crowd but for the coven of purists, it whispers: “Film is not dead; it’s just selective.”
Design: Minimalism as Dogma
1. The Black Paint Enigma
MP’s matte-black finish—thinner than M3’s wartime lacquer—ages like a samurai’s armor. Brassing emerges not as decay, but as a map of journeys. Chrome versions? Eternal youth in a stainless steel sarcophagus.
2. Shutter Dial Tai Chi
The compact speed dial (1s-1/1000s) arranges numbers in yin-yang symmetry. Rotate clockwise to slow time, counterclockwise to hasten it—a tactile waltz even M3 purists envy.
3. Skin Deep
Leatherette: Fine-grained calfskin, echoing MP’s unadorned top plate. No garish logos, just “Ernst Leitz Wetzlar” in ghostly script.
Battery-Free Zen: Mechanical shutter thrives sans electricity; the meter (borrowed from M6) hums on two SR44s.
Born in 1967, the Leica M4 was the Swiss Army knife of rangefinders. It combined the elegance of the M3 with the practicality of the M2 and boasted the fastest film loading system in Leica history. But today it’s neither the most desirable (M3) nor the most accessible (M6). Instead, the M4 occupies an iconic middle ground – a tool for those who crave mechanical perfection with a dash of heresy.
When Leica introduced the M2 in 1958, it wasn’t just a camera – it was a manifesto. Designed as the “poor man’s M3,” it quietly became the ultimate storyteller’s tool. Journalists, soldiers, and street photographers embraced it not for its prestige, but for its raw utility. The genius of the M2? It embraced imperfection. No motor drives, no light meters, just a brass-and-glass vessel for stolen moments. As Garry Winogrand quipped: “Photography is about finding out what can happen in the frame.” The M2’s 0.72x viewfinder became the oracle of that frame.
Every century, a few objects are born that transcend utility-the Stradivarius violin, the Rolex Oyster, the Leica M3. Introduced in 1954, this brass-and-glass marvel didn’t just capture light; it crystallized the very soul of analog photography. While later M models chased convenience (the M4’s quick load, the M6’s meter), none could match the M3’s uncompromising craftsmanship. As Henri Cartier-Bresson explained: “The M3 became an extension of my eye. Today, it remains the gold standard for purists who believe cameras should be heirlooms, not gadgets.
When the Leica M8 debuted in 2006, it was already an anachronism. With an APS-H sensor (27×18mm) and 10.2MP resolution, it lagged behind Canon’s 2005 12.8MP full-frame 5D. Nineteen years later, in an era where $2,500 buys a 60MP mirrorless powerhouse, this German digital oddity should make no sense. Yet here I am, still grinning every time I press its brass shutter button.
The M8 isn’t a tool – it’s a manifesto. It dares you to ask: What if joy mattered more than specs?
When you decide to give up the ccd camera, perhaps unexpectedly, the ccd camera will also quietly leave you. I, on the other hand, am deeply grateful to be able to use the Leica M8 with the Elmarit 21mm f2.8 E60 to take tons of wonderful ccd photos. I can’t wait to tell you that this lens is without a doubt the perfect partner for the Leica M8.
The excellence of the Leica m8.
I firmly believe that the Leica m8 is an exceptional camera. In these challenging times of full-frame ccd technology, Leica’s aps-h format for the m8 shows significant advantages over the aps-c format of common DSLRs. Admittedly, not being full-frame, the camera loses some of the lens’s field of view in use, but the APS-H’s 1.33 equivalent conversion makes a 21 mm lens equivalent to 28 mm and manages to capture the best image quality areas of a 21 mm lens. As a result, film shot with the Leica M8 has a very high degree of sharpness.
Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60
The lens is a wonderful match for the m8.
When this lens is combined with the m8, the results are extremely impressive. Not only are the colors vibrant, but the sharpness is excellent. I am in love with its colors, which in my opinion are even more captivating than the Leica Elmarit 21mm asph version .
How the lens performs on the M8 vs. M9.
Half of the time this lens was mounted and used on the m9, the other half of the time it was mounted on the m8. I was actually more impressed with the color performance on the M8. Although it’s hard for me to say exactly why, it always seemed to me that the m8’s ccd was able to show its color appeal more fully.
Street photography is like a solo trip, in this field some people recognize the 35mm lens, while others prefer the 28mm lens. I, on the other hand, don’t get hung up on which lens to use. I have always believed that photographers should be willing to experiment. In fact, this 21mm lens with the Leica M8 is my favorite combination. I love it even more than the 28mm lens on the m9, even though they have the same field of view.
Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60Leica M8 with Elmarit 21mm f/2.8 Pre-ASPH E60
Back in the day, when cell phone photography was still new and the camera market was booming, checking out new products was fun. The Leica D-Lux Type 109 is Leica’s first 4/3-format camera, and the image quality has really improved. I was really excited to buy it ten years ago.
I find the 4:3 format works well for hobbyist needs, as well as for professional RAW shooting. Even though it was made by Panasonic, it has a lot of the same qualities as a Leica. The image quality is consistent, the colors are accurate, and it handles contrast and low light well, no matter what the situation is. The color palette is pretty unique and definitely in line with Leica’s color philosophy. That’s the Leica spirit.
I think trying to copy Leica’s look is a bit childish. Leica’s spirit isn’t in its appearance, but in its philosophy of quality, the spirit of striving for excellence, and seeking the best. The Leica D-Lux 109 is actually a better version of the Panasonic LX100. In my mind, it’s Leica, not Panasonic.
One day, I was seen by a colleague holding a Leica I camera, and he exclaimed, “Wow, this is an amazing camera!” It’s obvious that it belongs to a man with a story—and a fascinating one at that! The Leica I was the first mass-produced model by Leica, and it was a game-changer! The prototype was called the “O” model, and it’s now a highly sought-after collectible item! Leica later released two incredible replicas of the “O” model! However, the “O” model was never truly sold on the market, and the “I” model was the first Leica camera that was available for purchase. From 1925 to the present day, most of these cameras can still be used with just a little adjustment to the cloth shutter, which is truly miraculous!
Viewfinder
Leica I cameras all come with a small black-painted viewfinder slung over the shoulder, which is very beautiful. This viewfinder provides an approximate framing range and is perfect for getting a feel for the shot before you take it. It doesn’t assist with focusing, which still requires estimation, but it’s a great way to get started!
Black paint
The black paint on the Leica I cameras is hand-mixed to absolute perfection, and the finish is absolutely stunning, with a high gloss that is simply mesmerizing! With an affordable black-painted camera like this, I might just be able to balance out my desire for a black-painted M3!
Playing with Leica
Those who frequently buy new cameras have become “fallen” into just taking pictures, haha! Those who play with old cameras are the ones who truly appreciate them. This camera is so small, exquisite, simple, and clean that it’s hard to put down once you hold it. I like to pair it with the Elmar 35 3.5 lens in black, it looks absolutely beautiful. Blind shooting with a 3.5 aperture is no problem at all, with no pressure.
Leica I (model A)
The Leica I camera was produced in a number of versions, which can be broadly classified into three types: Type A, Type B, and Type C. The “I” (Type A) model was first released in 1925, and its main feature was a fixed metal strip on the front of the body that was used to lock the lens focusing lever. This model was subsequently subdivided into versions equipped with an Anastigmat lens, an Elmax lens, a Hektor lens, or an Elmar lens. The “I” (Type B) model was released in 1926, and it was Leica’s sole camera with an in-lens shutter. It has a distinctive mushroom-like shape, which is highly sought after by collectors, although personally, I find it rather unappealing. The “I” (Type C) model was released in 1930 and was the inaugural Leica camera with a detachable lens. Initially, this camera was sold as a set with three lenses, and the body and lenses were individually calibrated and could not be used with other bodies or lenses. Consequently, the body and lens in a set were engraved with the same serial number, or the lens had the last three digits of the body’s serial number. Subsequently, Leica implemented a standardised production process, enabling the interchangeability of bodies and lenses. They also offered to calibrate early lenses to the standard type, which were marked with a “0” and the body mount had a “0” engraved at the 12 o’clock position.
SN Start
SN End
Product
Year
Batch
131
1000
Leica I (Anastigmat & Elmax 1st version)
1924
870
1001
2445
Leica I (Elmax, Elmar + Elmar Close-Focus)
1926
1445
2446
5433
Leica I (Elmar 2nd version + Elmar Close-Focus)
1926-1927
2988
5434
5700
Leica I (4 digit)
1928
267
6301
13100
Leica I (Elmar 4th version + Elmar Close-Focus)
1928
6800
13301
21478
Leica I (Elmar 6th version + Elmar Close-Focus)
1929
8178
21811
34550
Leica I (Elmar) 7th version from 31600
1928
12740
34803
34817
Leica I (Elmar + Luxus)
1929
15
34818
^60000
Leica I (Elmar 8-10th versions + Elmar Close-Focus + Hektor)
