A Walk Through Aviation History

In celebration of Veteran’s Day this year, I went to Virginia Beach to visit the Military Aviation Museum. It is one of the largest private collections of military aircraft on the east coast, and reminds me of places like the Shuttleworth Collection, which I loved to visit while I was in the UK.

To commemorate the 100th anniversary of the end of World War I, the museum put on a special ceremony, and then displayed a number of aircraft from that era.

I really enjoy black and white images of aircraft, and particularly like the challenge of shooting them on the ground in a way that captures their spirit for flight. So with each of these photographs, I tried to use the surrounding hangers and structures to remind you how much these machines love to fly.

If you want to learn more about the Military Aviation Museum, you can visit their website.

All photographs taken with the Nikon Z7 and Zeiss Milvus lenses.


Exploring NYC, Part 2: A Day in the Snow

Few things are as magical as a visit to New York City during the holidays, when stores put on extravagant displays, Santa is available for a visit, and holiday markets pop-up across the city. Add a fresh heavy snowfall into the equation, and you have a truly memorable winter wonderland in the city.

A New York City Police Officer prepares this police horse for a ride in the snow

A New York City Police Officer prepares this police horse for a ride in the snow

A couple seeks refuge underneath an umbrella during the snowfall

A couple seeks refuge underneath an umbrella during the snowfall

Photographing snow can be a bit of a challenge. Bad weather always makes for a great photograph, but it's not as easy as just stepping outside, taking a quick image, and having success. I walked over 10 miles in the heavy snow to get these images, and faced several technical challenges along the way.

Snowfall blankets a quiet New York City intersection

Snowfall blankets a quiet New York City intersection

A man strolls through the snow in Central Park

A man strolls through the snow in Central Park

First was the challenge of keeping the camera dry enough. The Leica M10 is technically not weather sealed, but it is pretty hardy. Unfortunately the temperature outside was just warm enough that the snow melted almost instantly when it made contact with my body and the camera, making my hands and the camera very wet (never mind that it also made me very cold!). After several hours, this caused the viewfinder to fog completely.

During periodic breaks indoors, I wrapped the camera in a dry shirt with the hopes that it would help dry out the camera's viewfinder. That worked to an extent, but the remaining moisture would condense anytime I subjected it to a temperature change stepping between the outdoors and indoors. 

A man emerges from the 14th street subway station

A man emerges from the 14th street subway station

Steam rising from street vents adds to the dramatic effect of the snowfall on this New York street

Steam rising from street vents adds to the dramatic effect of the snowfall on this New York street

Second to keeping the camera dry is the challenge of keeping the lens dry. I was far more successful in this endeavor because I kept the camera oriented in my hand so that the lens was either facing downward, or facing downwind of the snow. I never - EVER - use a lens cap when out taking photographs, and certainly was not about to miss a shot because I had covered the lens. 

Taxi cabs lined up on the streets of Times Square during a late evening snowfall

Taxi cabs lined up on the streets of Times Square during a late evening snowfall

A streetsign covered with snow outside Times Square

A streetsign covered with snow outside Times Square

Finally, capturing snow can be a challenge. In a close-up photograph, snow can appear like a blur, rather than a snowflake. The trick was for enough of those blur's to be present in the photograph that the viewer would understand it was not a mistake, but that it was a snowflake.

I don't know how much snow fell in New York on this particular day as it never accumulated beyond a slush on the streets, but it certainly made for a beautiful day of photography.

Two women - presumably en route to a holiday party - stop for food from a street vendor in the late evening snow

Two women - presumably en route to a holiday party - stop for food from a street vendor in the late evening snow

The Importance of Storytelling

I've said it before - storytelling is everything as a photographer. There are lots of stories to tell, and each story requires a different presentation to share that story with the eventual viewer of the image.

Some stories tell themselves. Others need help. As a photographer, I need to use the tools at my disposal - namely the camera and lens - to capture that story, and to aid in conveyance. If we fail as storytellers, we fail as photographers. 

This image was a particularly fun story. The man peeking up from the ground is actually a bronze statue titled "Man at Work" on the streets of Bratislava, Slovakia. Tourists from around the world flock to kneel next to him and have their photo taken. Some rub the top of his hat for good luck (though after watching a few dogs pee on the statue, presumably for good luck, I opted out of the good luck charm). The photo everyone takes of him is one posing next to the statue. Yawn.

I stood about 20 feet away and got the camera low to the ground. Using the Leica f/0.95 Noctilux lens (which is wonderful for storytelling), I focused on the statue with a shallow depth of field. With the Leica Monochrom producing the black and white image, I just needed to wait and time my shot when there were a bunch of legs in the scene. I wanted the final product to feel a bit weird - to give the viewer goosebumps. 

The locals joke that his job is to look up the skirts of women passing by. I don't know about that, but I hope that my photograph told a similar story!

Quick Shot: One for the Birds

Pigeons: "Flying rats".

These poor birds have the unfortunate reputation of being a pest. They are pre-disposed to a life of shooing and picking at leftover crumbs. But as much as we overlook pigeons, they can actually be really pretty..... in the right context. 

During my travel through Austria, Hungary, and Germany, I established a micro-quest to create images with pigeons as a prominent theme. As I photographer I love to photograph the things we often overlook, and pigeons became a fun little photographic project for that journey. 

So today I present a series of images on pigeons -- it's one for the birds -- and maybe you'll see a little beauty in that bird. Or you'll shoo it off. Whatever.

Photographed with the Leica M Monochrom and Leica Noctilux f/0.95 lens. (PS- I might be the first person to use that lens to prominently feature birds. It's not exactly a 'birding' lens!)

Everyone else in the Hero's Square of Budapest was photographing the monuments. I was pre-focused and pre-composed waiting for the birds to take off. After a few long minutes of pigeon watching, they finally jumped into flight. Best yet - their flight path worked perfectly with the direction that dude in the statue was pointing. Winning!

Not all of my pigeon watching and timing was as successful as that first shot. In this case, these pigeons had their feet glued firmly to the rooftops in Bratislava. But the leaning and not level roof dotted with birds still makes for an interesting image.

I think this is one of the most ironic images I've ever made. This is some fountain in Austria, and this pigeon was just chilling at the feet of the eagle / hawk thing in the statue. The expressions are priceless.

No patience here - just luck. This is why I always carry my camera turned on - I turned around just to see these birds flying over the dome. Sadly some power lines were in the way, but it adds and interesting element to the image still.

Quick Shot: Down the Alley

One of my favorite parts of living in Europe for the past two years has been exploring the pedestrian areas of old cities and finding hidden alleyways that split off the main routes. It's quite common to find side streets paved in stones, with intricate architecture and geometry in Europe's streets, and it's unlike anything you'll find in the United States.

Last week my friend and I travelled through Hungary, Austria, Slovakia and Germany, and we saw a LOT of beautiful and picturesque alleyways. Of course, I had to photograph them all! I saved only the best, and I'm excited to present the alleys as my first set of images from this travel.

I primarily used my Leica M Monochrom on this trip, opting to focus on making beautiful black and white images. Europe is beautiful in color, but I like it in black and white too! All of the images were made using the Leica M f/0.95 Noctilux lens as well.

Click on any image for a full size preview.

A tunnel on a stone street in Durnstein, Austria.

I absolutely love this street, mostly because of the perspective as it falls away from the viewer. Photographed in Germany

A residential side street in Austria

The side street of a monastery in Melk

Triple arches on this side alley street in Germany

Vanishing street in Regensburg, Germany

Bike parking on a side street in Germany

Quick Shot: Up in Space

I have always been a bit of a space geek. As a kid I went to Space Camp (okay, I went three times.....) and I marveled over the 3D images from the Mars Pathfinder printed in a special issue of National Geographic. A few years ago, when NASA retired the space shuttle program, I photographed the ceremonial final flight of the shuttle over Washington, DC. That shuttle (Discovery) was then moved into the Smithsonian Udvar-Hazy Air and Space Museum outside DC, but I hadn't been to see it on display since the move.

Last week, I had a few hours to burn before hopping on my flight between DC and London. The museum with the shuttle is co-located with Dulles Airport, so I decided to jet over to the museum in the morning to pay my respects to Discovery before the crowds formed.

I got there before the gates open, and made a direct path for the space section of the museum once it opened, allowing me to get several images without any people in the scene.

The space shuttle is a naturally black and white subject, so it suited my choice of camera - the Leica Monochrom - well. I used the 50mm f/0.95 Noctilux to help create isolation, and focused on a variety of shots, including some more abstract images of the shuttle. 

Today I'm sharing some of my favorites of this incredible piece of human history. It's humbling to stand inches from something that has carried dozens of astronauts to space, and while I normally don't conduct many photo shoots in a museum, this was a special opportunity, and I appreciate NASA's emphasis in preserving our space flight history.

The space shuttle sitting alone in the hangar of the museum. I intentionally underexposed the image to isolate the subject - the morning light was perfect for capturing the shuttle in isolation.

Some of the tiles on the bottom of the shuttle, designed to protect the bottom from the extreme heat caused during re-entry of the atmosphere. Space Shuttle Columbia and all of her crew were lost in 2003 when damaged tiles caused the shuttle to burn up on re-entry. Each tile has a unique serial number and placement

The landing gear on the shuttle, along with more of the heat protecting tiles. You can see where various tiles have been replaced throughout the years and missions.

The main engines on the shuttle. During launch, the shuttle also utilized two external rocket boosters that helped propel the shuttle into orbit. 

The back end of the shuttle. I got very close so the image is a little more abstract. The monochrom of this image really highlights the aesthetic imperfections of this machine.

The side of the shuttle, looking across the wings. This is the first time I'd seen a shuttle that had been to space (NASA also had some shuttles that never left Earth that I've seen before) and I was surprised how 'dirty' it looked. You really gained an appreciation for the abuse space flight inflicts on a machine like this.

Close-up detail of the space suit worn by one of the astronauts on a space flight.

I was fascinated by the heat shielding tiles on the shuttle (these are on the nose). There is sense of controlled chaos in their arrangement and organization. It was the most perfectly aligned puzzle of pieces to protect the crew, but these were incredibly delicate and often broke.

Quick Shot: Vanishing Point

This was 100% an experimental photograph, but it turned into one of my favorites from Paris! I wanted to do a test to see how the Leica M Monochrom would meter light if I gave it a really crazy scene with intense highlight and deep shadows (in plain English, I was screwing around). So I decided to shoot looking up into the daylight as I rode the escalator out of the Paris metro. The result is wonderful!

And for some reason, "Stairway to Heaven" keeps playing in the back of my head......

What the F*ck Photography!?!

"What the f*ck?" - That's what I want you to say, and if you say it, I'll take it as a compliment!

Sometimes I take photographs that are really bizarre - images that, by themselves, can't be shown off, because they don't make sense. But put a collection of outrageous photographs together and it starts work. So folks, that's what I've done. 

What the f*ck photography is what I am dubbing my collection of images that, particularly without context, are curious and wild. I have not artificially created these images in Photoshop - what you see is what I saw. I have not rotated the images either - this is the direction I caught them with my camera. The overwhelming majority of the images in this series were photographed with the Leica M Monochrom (Type 246); I guess black and white images are better for creating "what the f*ck" moments!

Leave me a comment and let me know which of these left you wondering WTF.

Quick Shots: Bike Culture

Europe loves the bicycle. And I love photographing Europeans on their bicycles, often at the risk of being run over. Amsterdam takes the bike culture to a whole new level; you are constantly dodging cars, mopeds, bikes, and pedestrians walking through the city, but if you manage to not be squished, then you are rewarded with a bounty of photographic opportunities.

It was important to me to capture the bike culture of Amsterdam in a way that was distinctly Amsterdam. So I shot a series of images to tell the story of Amsterdam's bike culture. Photographed with the Leica SL and Leica Q and converted to black and white in Nik Silver Efex.

"Ironic Bike"

"Cobblestone Bike"


"Resting Bike"

"Parked Bike"

8 Tulips & The Importance of Playing

If you are a photographer, or even someone who fancies the occasional creative expression, then you know the challenge associated with the lack of creative juices. Authors call it "writers block," but all creative people are subject to this period when they can't seem to generate some new work. Which is why I advocate playing!

Every so often, I go to the Cambridge market and select some flowers for sale from one of the merchants. I often pick Tulips - they are cheap and do lots of interesting things as they open. I'll bring those flowers home and then take some different photographs of the flowers, playing with different things to get the creative juices flowing. There is rarely a goal - just to play.

This weekend I got dozen tulips and decided to play with the macro setup on the Hasselblad 503CX. I loaded up a roll of black and white film and shot 12 images of tulips in various poses. After developing and scanning, I saved 8; a few of my experiments didn't work so well! But I played around with the camera and lighting, I played with exposures, I played with focus, and I played with contrast. And the result is that I got 8 fun photographs. 

If you stumble into a "writers block" - or even if you just want to prevent it through pre-emptive therapy, then I recommend taking the camera out to play. No goals, no expectations, see what comes across the lens. You might end up with 8 fun tulip photographs!

Side Note:

Curious about the fancy setup I used to get these photographs? I caution you..... it's not fancy. The canvas background you see behind the flowers is actually the back of a pillow case. It's laying on the floor in front of a big glass door and the lighting is all natural sunlight. The camera is mounted on a tripod and triggered manually. No flashes. No wiz bang light setup. Sunshine + pillow case + film. Playing, remember?

Quick Shots: From the Streets of London

Few things bring me the same pleasure and thrill of opening a fresh roll of 35mm film and exploring a city with the aim of making 36 photographs. While it's almost impossible for me to produce 36 "keepers" with any one roll, that's the goal, and I find that I have more keepers from any one roll of film than a similar 36 digital images. 

All of the images included here were shot on one roll in one day of walking around London with my Leica M7 and a 35mm Summarit lens. Apparently I had a thing for feet that day ;-)





A local



Ride Along





Storytelling with the Leica Noctilux

What happens when the most brilliant engineers and lens design specialists spend decades perfecting the already near-perfect lens? You get the Leica Noctilux-M ASPH f/0.95 lens.

I can rewind to a year ago… it was about this time that I started looking to purchase my first Leica M camera - a Leica M-P (35mm film). Although I knew the reputation and brand, the specifics of the brand lineup and offerings were new to me, so I spent hours reading blogs from Thorston Overgaard, Ming Thein, Steve Huff, and others to absorb as much as possible about the Leica system. In all of this reading, I kept seeing mention of this lens, the Noctilux.

When Noctilux is mentioned online, it’s usually in one of two contexts: 1) Holy crap that thing is expensive and you must be nutty to spend that much on a lens or 2) This is the best lens ever made, and its performance justifies the price tag.

Seeing the $11,000 price tag of the Noctilux for the first time literally took my breath away. I sided in camp #1 - the “you have got to be kidding” camp. I already had sticker shock over the $2,000 of the ‘basic’ Leica lineup - how could another $9,000 improve on a lens that was already supposed to be one of the bests in the world? It’s not like Leica makes bad glass or cheap lenses!

For months thereafter I gave the Noctilux very little thought. Occasionally I’d bump into some review or post about the Noctilux and would read it, amused and wishing for the type of disposable income that could make that a reality…. the same way I also wish for a sports car and private yacht. 

Click on any image for a full-sized preview.

Once Upon a Time

There are lots of websites covering the history and legacy of the Noctilux, so I’ll sum it up simply. There are three versions, but only two were produced in large numbers: the f/1 and f/0.95 model. Done.

In my opinion, the real history and legacy of this lens hasn’t been written. We’re at the “once upon a time” part in Noctilux history….. Once upon a time there was a lens, called the Noctilux. It was adored, expensive, and specialty, but it hadn’t realized it’s true potential as a lens. Then one day a camera named Leica SL came along, and it was a perfect union of technology and optics. Finally, the Noctilux lived happily ever after.

Ok, that was a bit cheesy, even for me, but the point stands. The real potential - no, the real value - of the Noctilux is unleashed when it is mated with the Leica SL Type 601. 

The Noctilux Epiphany

When Leica announced the new SL Type 601 camera in late-2015, I was completely head-over-heels with the system. It was a great fit for my photographic style and would allow me to finally separate from some of the Nikon equipment I’d been holding onto. I sold everything that didn’t have a red dot affixed to it and went all in on the Leica SL. It’s been a phenomenal decision! But what I didn’t realize at the time was that the Leica SL would be the driving factor for my desire to get a Noctilux, and as much as this review is about the Noctilux, I cannot overlook the relationship to the camera behind the lens.

If you are not familiar with the Leica SL vs the traditional M-series, then there is one very important key difference you must understand going forward. The SL uses an electronic viewfinder instead of the rangefinder to focus. A common issue with the Noctilux when used on the M rangefinder bodies is the need for precise calibration between the rangefinder and the lens - but the SL’s electronic viewfinder negates this issue. Looking through the eyepiece, you see exactly what the sensor sees, leaving no doubt that you nailed the focus even when shooting with the razor thin f/0.95. There are plenty of other differences between the camera systems, but the focus mechanism is most relevant to our discussion here.

Ironically, in my decades as a film and digital photographer, I have only ever owned one 50mm prime lens. It was a cheap Nikon lens and I only used it for infrared photography. Prior to the purchase of a Noctilux, I had maybe only ever taken 200 photographs with a non-Leica 50mm prime lens…. a focal length regarded as one of the best. I wouldn't say that my lack of 50mm use was intentional - I used a lot of zoom lenses that covered that focal length and didn’t see the value in owning a prime lens that replicated the functionality of a zoom lens.

When purchasing the Leica SL, I nearly fell into the same trap again. I purchased the Leica Vario-Elmarit-SL 24-90mm ASPH zoom lens, which is an absolutely magnificent lens, to shoot on the SL body. Again, I told myself that I had a zoom lens that covered 50mm, why would I need another 50? I already had a Leica Summilux f/1.4 that didn’t get much use, did I need another (and far more expensive) 50mm lens?


Photography is about storytelling. It’s about capturing the emotions, expressions, feelings, mood, and world as it existed in that instant. It’s become easy to forget about the storytelling element of photography - we’ve become numb to having a camera and what that camera affords us. For instance, I will use my iPhone to take a snap of ingredients in a recipe book before I go grocery shopping, but that’s hardly storytelling. Likewise, as a Nikon shooter, I was too focused on technical perfection via equipment and accessories, and not focused enough on the story. That’s not to say Nikon equipment couldn’t allow me to be a storyteller; there are many phenomenal photographers who use that brand to create masterpieces. But storytelling is what Leica specializes in, more so than anything else.

You see, Leica doesn’t produce a lens that costs $11,000 for the sole reason of pointing out their technical superiority. They produce that lens because they know that, for the people who can afford it, that lens offers storytelling opportunities that no other lens can compete with. Leica’s emphasis on the essentials and manual controls force the photographer to think about the story they are telling when they click the shutter.

I didn’t buy the Noctilux because I was looking for a 50mm lens. I bought the Noctilux because I realized the opportunity that lens represents; the opportunity to tell a story in a way most other lenses cannot. That difference lets my work stand apart, and I value the opportunity the Noctilux offers enough to pay for the opportunity. Of course, if you saw my initial preview of the Noctilux, you know I didn’t spend anything close to $11,0000 either!

The Elephant in the Room - Price

So let’s explore the price. Chances are, if you read this far, you’re hoping that I’ll blow you away and the photographs will change your opinion of the lens, or you already understand the price and accept it at some level. Either way, price is what makes this lens so polarizing and yet so interesting. 

Considering the retail price of $11,000, the Noctilux is arguably the most expensive manual focus, manual aperture selection, fastest prime lens available. That’s right, you’re not paying big bucks for incredible autofocus or image stabilization…. it doesn't even have those features. What you are paying for is a lens that laughs at darkness and is crafted with incredible precision. And if you value quality, incredible feats of engineering and some storytelling opportunities, then the Noctilux’s price isn’t that crazy.

The glass used on the Noctilux represents the best-of-the-best. Leica saves the clearest and most perfect glass for this lens; it’s rumored that just manufacturing the glass elements takes years. And then the lens is assembled by hand to the most exacting specifications and tolerances. While I don’t know if it’s true or not, it’s been said that Leica makes almost no profit on the Noctilux because the overhead cost to produce is so high. Leica does make some overpriced collectors edition cameras and lenses that are artificially price inflated, but the Noctilux is not one of those.

The Feel of a Noctilux

I never held a Noctilux until the day I purchased mine. I knew that it’d be hard to put down if I ever picked it up, so I limited myself too drooling from across a locked glass display case. When I finally held the Noctilux for the first time, I was shocked by the sheer amount of glass in the lens. It’s a heavy sucker, no doubt the heaviest M lens in production, but on the SL body, the weight counterbalances the camera body nicely. The combination is similar in size and weight to a more traditional dSLR setup. The Noctilux on my M7 is another story - the body is not heavy enough to counter the weight of the lens, but this is one of those times when my mom would tell me that I can’t have my cake and eat it too. You can’t ask for f/0.95 and not sacrifice some weight. Pick your priorities and Leica’s probably got a lens to suit them.

When I was shopping for the Noctilux f/0.95, I took the time to compare it to the older f/1 Noctilux for image aesthetics, feel, etc. I reviewed the differences in my Noctilux Preview, so I won’t repeat it here, but there were two differences in feel that I’ll cover. 

First, the f/1 Noctilux was much stiffer when rotating the focus ring. While it could have just been the unit that I sampled, the stiffness of the focus ring was no where close to the smooth, yet firm, of the f/0.95 Noctilux. I realize that smooth and firm are contradictory statements, but that’s precisely how you want the focus on a lens like this to work; smooth enough that it takes little effort to rotate the ring, but stiff enough that it doesn’t turn unless you turn it. The focus ring on the Noctilux is perfect, and I hope it feels exactly the same as it does now in 10 years.

Second, the lens hood on the f/1 Noctilux did not lock in place, and a strong stare could have retracted the lens hood. While lens hoods are designed to prevent flare, I primarily use them as a front element bumper. I’d rather the lens hood get dings and scratches than the front glass elements. Therefore, a hood that doesn't stay securely extended is of no value to me. The f/0.95 hood pulls out and turns to lock into place. This design is far better, but I have encounter the lens rubbing along the side of my body when carried on a strap is often enough to unlock the hood. 

Noctilux as a Landscape Photographer’s Lens

Most of the reviews you’ll find on the Noctilux focus on it’s application for street and portrait photography, but I’m not a portrait person, so I will instead discuss the Noctilux as a street and landscape photography lens.

Landscape and street photography have many similarities, which is why I’d argue the Noctilux is so good for both. In these fields, photographers are often trying to use light and the surroundings to portray the subject. Whether it is grassy fields or a busy market street, the razorr thin depth of field on the Noctilux allows the photographer to isolate their subject, while maintaining as much (or as little) of the surroundings to story tell. The biggest difference between the photographic fields is the amount of time afforded to the photographer; street photography requires split-second decisions, while landscape photography is often at a more relaxed pace. Yet with proper technique, the Noctilux serves both admirably.

I have become partial to the Noctilux for landscape photography. Using the unique Noctilux look, I’ve been able to isolate a small patch of grass in a sunbeam or individual pieces of straw in a way that none of my previous lenses have done. Several people have commented that the landscape photographs I’ve taken using the Noctilux look “dreamy” and “surreal” - as though they were taken in a mythical place. Whether or not that is my intention is irrelevant (although it is)….. it’s a comment I’ve never received on my photographs taken with another lens. And that, my friends, is why this lens is so special. Viewers notice the look.

I split time as a color and black and white photographer - color for landscapes and nature, while street and urban photography is entirely black and white. For both applications, the Noctilux is incredible. The color rendition is fantastic; I used to always adjust the saturation in Adobe Lightroom, but its almost unnecessary with the incredibly sharp and vibrant colors captured in the RAW DNG files using the Noctilux. 

Technical (in)Perfection

The Noctilux is proof of what incredible engineering can give us - it pushes the boundaries of lens design in many regards, most notably for it’s incredible f/0.95 aperture. Yet for it’s technical accomplishments, there is one nasty side effect that you will face…. Chromatic Aberration.

Chromatic aberration usually occurs in the highlights where those highlights meet a strong dark and contrasty area of the image. For outdoor photographers, we’ll often associate chromatic aberration with the purple outline where tree limbs and bright sky meet. 

I hate chromatic aberration - but it’s an artifact of digital photography that we cannot escape, just like dust is an artifact in film photography. Unfortunately, at f/0.95, the Noctilux has very strong chromatic aberration, probably some of the worst I’ve ever seen in a lens. Stopping down even just to f/2 resolves all of the chromatic aberration, but at the cost of the storytelling benefits of f/0.95. Again I face the cake vs eating conundrum, and I choose cake….. to shoot at f/0.95 and deal with it in Lightroom.

Lightroom, Photoshop and Adobe Camera Raw all have great chromatic aberration removal tools available, and a shallow depth-of-field Noctilux shooter should get familiar with them quickly. Even when I convert to black and white, I will take the time to resolve the chromatic aberration to prevent weird tonality changes. 


The Leica Camera marketing team clearly wants you to feel special if you’ve spent $11,000 on alens, so they’ve packaged the Noctilux far more luxuriously than the other lenses I’ve owned. The exterior box is the traditional silver and black cardboard affair, but it’s big enough that I could store a pair of shoes in it. All the talk about how big the Noctilux is compared to other 50mm lenses in the Leica lineup isn’t helped when the box is that big!

Inside the box is the usual buffet of Leica paperwork: an instruction manual (sort of funny, if you think about it), a guarantee card, a certificate of inspection, and Leica Passport card. Remove the foam insert holding these pieces and you are rewarded with yet another box. This box is solid black with the Leica Camera logo stamped on the top and with a ribbon latch. Except for it’s large size, you could mistake it for an engagement ring box- which might have been Leica’s intention. If you buy a Leica Noctilux, you’ve become married to the brand? Untie the ribbon latch and inside the box rests the lens… on a silky pillow. With this sort of presentation, I’m a bit surprised the Noctilux doesn’t include a pair of white gloves for handling!

Final Verdict - to Noctilux or No?

I love the Leica M system - there is something very genuine and raw about taking images with a rangefinder body. While I own what is arguably one of the best lenses for the Leica M bodies, it’s not my go-to shooting lens, because of it’s size and semi- temperamental focus. This isn’t to discount the work of the photographers who do like the Noctilux and M body combination - kudos to them for their success. But if I didn’t own a Leica SL, I wouldn’t own a Noctilux.

With the SL, the Noctilux is a completely different lens. You can nail tack sharp focus on every shot; it becomes easy to shoot with the Noctilux. I was at a photography trade show recently and several Leica employees engaged in a discussion of the Noctilux + SL combination. Apparently many of them share my opinion: that the Noctilux is a different animal on the SL. The Leica SL is everything I didn’t know I wanted in a camera, and the Noctilux is the lens I never knew I needed. Combined, they are the right tools for me to great artwork. They aren’t the right tools for everyone, but with the Leica SL and the f/0.95 Noctilux, I’ve found my combination - one that provides me with new storytelling and artistic opportunities.

Quick Shot: Peek-a-Boo

A great photographer once told me "you'll take better pictures if you carry a camera"..... turned out it's good advice. Most photographers will stash their camera on a public bus, but I had my camera out and ready incase any moments arose. And sure enough, a moment arose.

This little boy had been sitting on his mom's lap, but turned around to peer over the chair right as I readied the camera. I cropped the photograph to tell the story how I saw it.... a little boy playing peek-a-boo.

Shot with the Leica SL and 50mm Noctilux f/0.95.

Quick Shot: I Know This Scene?

Every time I develop a roll of film, I rediscover my love of film. If I had taken this photograph with a digital camera, I probably would have deleted the photo. But with film, there is so much contrast. Such strong blacks. The long shadows catch my eyes. I'm lost..... my eyes can't decide what is happening, but I know this scene. It's familiar, but different. I KNOW this scene?

This is the heart of street photography. This is me capturing an ordinary moment and making it different..... putting a spin on commonality and challenging what you think makes for a great photograph. It's not straight. It's not colorful. It breaks EVERY rule of photography, but I love it.

Shot on the Leica M7 + 50mm Summilux with Adox Silvermax film.

Quick Shot: Lost in Paris

"Lost in Paris" - this was an interesting double exposure on film. I was trying to merge some of the architecture and landmarks of Paris into a single image and was hoping to do so without any people in it. I stood ready to fire the shutter on one of the images for several minutes in the rain, but people kept walking into the frame. So I waited. Eventually, a little girl walked into the scene and leaned up along the glass of the Lourve pyramids. I fired instantly.... the girl was exactly the subject I needed!

The resulting photograph is perfect - here's all this Paris architecture, with a little girl looking lost in it all.