In black-and-white photography, yellow filters are the unsung heroes of contrast. By blocking blue wavelengths (450-495nm) while passing red and green, they transform bland skies into brooding canvases and elevate skin tones to marble purity. For the Leica M9—a CCD-powered time capsule—this analog trickery bridges the gap between digital convenience and darkroom artistry.
Tungsten Lighting: Neutralize orange cast with +0.5 stops
2. M9’s CCD Quirk
The inherent warmth of the Kodak sensor magically combines with yellow filters. Overexpose by 0.3-0.7 stops beyond the calculated values to preserve shadow detail – the CCD’s limited dynamic range demands mercy.
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.
It’s hard to believe, but two years ago, everyone wore a mask! Now, many people have gotten into the habit of wearing masks, and of course, more people don’t wear masks anymore. Sometimes, what happened two years ago seems like two days ago. Time really does fly!
Leica M8 with Voigtlander 15mm F4.5 Super Wide-Heliar
When my heart is ignited by the magnificence captured by a wide angle lens, the passion is like a holy fire that drives me to share – to pour out the vastness of the world and the delicate emotions under the lens to anyone who wants to witness this extraordinary perspective.
In all my years of photography, the Voigtlander 15mm/f4.5 Ultra Wide-Angle Lens is undoubtedly one of the most striking lenses I’ve encountered. It’s reputation has been so well established in the photographic world for so long that Voigtlander has now developed it into its third generation. However, the most charismatic in my mind has always been the small and exquisite first generation L39 mount lens.
The small size of this lens perfectly illustrates the spirit of Leica. It is lightweight and easy to carry, and can be easily converted to M-mount with a simple 1mm adapter ring, making it a perfect fit for my Leica camera. What’s even more surprising is that this first-generation lens also comes with a dedicated 15mm viewfinder, a thoughtful design that was not continued in subsequent products, which I appreciate.
Leica M8 with Voigtlander 15mm F4.5 Super Wide-Heliar
In actual use, the image quality of this lens is impressive. The center is extremely sharp, capturing fine and crisp details. The color performance is very rich, producing a full and layered color effect. This made it easy for me to capture every vibrant moment while shooting.
However, this lens is not without its challenges. Because it is an ultra-wide angle lens, you have to pay more attention to composition and camera angle when shooting. Especially when using the Leica M3 camera, I have to rely more on my own feeling and experience to estimate the shooting distance, as there is no linkage rangefinder structure. This is a real challenge for me, but it also makes me more focused and attentive during the shooting process.
Leica M8 with Voigtlander 15mm F4.5 Super Wide-Heliar
With this lens mounted on the Leica M8, this lens has an equivalent focal length of about 20mm, which is still moderate enough for me to get used to. However, when placed on the M3, it transforms into a true 15mm ultra-wide angle, and the stunning field of view was a bit too much for my heart to handle. The visual impact of this ultra-wide angle makes me passionate and expectant when shooting.
However, I also realized that the 15mm focal length may not be suitable for street photographers like me. In street photography, if the characters are too close, it is easy to appear “big head” effect; while if the distance is too far, the characters will appear too small. In addition, due to the characteristics of the ultra-wide-angle lens, the shooting of the characters will be stretched out of shape. This made it a bit difficult for me to shoot on the street, so I decided to keep it more company with the M8 and turn it into a 20mm lens for use until I could find a better way to use it.
That said, I still think the 15mm/f4.5 lens from Voigtlander is a worthy lens. Its ultra-wide focal length may not be for everyone, but there’s no chance it’ll suit your shooting style. If you really like it, you’re getting a real bargain because not only is it small, portable and affordable, it also offers such a wide angle of view. The lens is also highly traded on the second-hand market, which means you don’t have to worry about buying or selling it. Whether you want to get in or get out, it’s easy to find the right deal.
Leica M8 with Voigtlander 15mm F4.5 Super Wide-Heliar
The journey of using this lens is like a drama on the stage of life, intertwining challenge and joy, frustration and fulfillment. The moments that seem impossible to capture perfectly have become the goals that I constantly pursue; and the meandering horizons under the lens are precisely the paths that I am eager to explore in my heart. Every time I put the camera down and take a break, not only to catch my breath, but also for the new round of longing for the unknown beauty in my heart, I am ready to set out again, using this 15mm (20mm leica m8) wide angle to continue to capture every moving moment of life.
Leica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarVoigtlander 15mm F4.5 Super Wide-HeliarVoigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-HeliarLeica M8 with Voigtlander 15mm F4.5 Super Wide-Heliar
Some people see street photography as a series of decisive moments. But when I’m out shooting, I realise I have no control over when and where my images will appear. I can’t predict which corner is going to pop up, and I can’t arrange for a moment to happen just right. In such a situation, I just have to choose the right camera, lens and exposure. The rest is down to luck.
I really like the look of grain in photos, especially in black and white. I like coffee in water, too. From analog film to digital, they’re my old friends.
When it comes to photography, it’s not just about the images we see. It’s the way it can capture the deeper meanings behind the photos that makes it so special. When I look at this photo, I feel a warm glow in my heart.
Take a look at the motor tricycle. It’s not just a heavy load; it’s like a messenger of warmth, full of intimacy and priceless emotions. I thought about whether I could use my camera to capture this warmth and make it last forever.
But who knows, maybe one day when they get a flashier car, the warmth from the motor tricycle may not be so direct and strong. I mean, that kind of warmth from the motor tricycle is pretty special. It really gets people’s hearts going when they see it.
Leica M9 with Elmarit 28mm f2.8 v3Leica M9 with Elmarit 28mm f2.8 v3
Everything in the world, from light and shadow to rain and shine, can be seen as a moving landscape painting. Even the most lethargic mind can hardly resist the allure of nature. When the urge strikes, we can’t help but reach for the camera to capture the beauty before us. The quality of the photo is secondary, as our aim is not to impress but to document that which belongs solely to ourselves — “my landscape.”
Photographers are magicians. They can freeze time and make the world black and white. Black and white, 0 and 1—this is the starting point of all magic.