Deep Dive into the Leica M Rangefinder Camera Series

Leica’s M series rangefinder cameras have cultivated a legendary status among photographers for over 70 years. Known for their mechanical precision, iconic design, and unique shooting experience, Leica M cameras (both film and digital) continue to inspire passionate devotees. This report explores the M system’s evolution from the 1950s to today, highlighting major models (from the classic M3 to the modern M11), their key features, how they compare, current market values, the famed rangefinder mechanism, lens options, and recommendations for different users – all interwoven with insights from the photographic community.

Historical Timeline of Leica M Cameras

1954 – The Birth of the M: Leica introduced the Leica M3 in 1954, the first of the M series and a groundbreaking 35mm rangefinder that set the template for all to follow . It featured the new Leica M bayonet mount (replacing the screw-mount of earlier Leicas) and bright-line viewfinder frames for 50mm, 90mm, 135mm lenses . The M3’s high 0.92× viewfinder magnification gave it the largest, brightest rangefinder of any M , though using 35mm lenses required auxiliary “goggle” attachments since the camera lacked 35mm framelines.

1950s–60s – Expanding the Line: Leica followed with variants like the M2 (1958) – a slightly simplified M3 with 0.72× finder and 35/50/90 framelines – and the M1 (1959) – a budget model for scientific use without a rangefinder or light meter . The MP (original 1956–57 model, not to be confused with the later MP) was a rare M3 derivative for professionals (only ~500 made) . In 1967 came the M4, refining the design with quicker film loading, an integrated frameline counter, and additional framelines (35, 50, 90, 135mm) standard . Leica also produced special-purpose models like the MD series (M cameras without viewfinders for scientific use) .

1970s – A Bold Departure and a Near-Exit: In 1971 Leica took a risk with the Leica M5, radically redesigning the body to accommodate the first through-the-lens (TTL) light meter in an M camera . The M5’s larger, squared body and meter arm (which interfered with some lenses) were poorly received by traditionalists, and it was produced only until 1975 . Facing slumping sales, Leica even considered discontinuing the M series. However, demand for classic M cameras led to the Leica M4-2 (1977) and M4-P (1980) – back-to-basics 35mm film Ms made in Canada, reintroducing 35/50/90/135 frames and adding 28mm and 75mm framelines on the M4-P .

1984 – Leica M is “Reborn”: The Leica M6 arrived in 1984, hailed as the return of Leica’s classic form. Externally similar to the M4-P, it added a built-in light meter with simple LED arrows in the finder – a first for a Leica M . Importantly, the M6 kept a mechanical shutter, meaning the camera worked even without batteries (the battery only powered the meter) . Photographers embraced the M6’s blend of modern convenience (metering) with old-school reliability. Variants like the M6 TTL (1998) brought TTL flash metering and a slightly taller body with a larger shutter speed dial . The M6 (in its classic and TTL forms) remained in production until 2002 and became one of Leica’s most beloved models.

2002 – Electronic Meets Classic: Leica introduced the Leica M7 in 2002, the last in the line of film Ms before the digital transition. It retained the look and 0.72× rangefinder of the M6 but added an electronic, electronically-controlled shutter with aperture-priority auto-exposure. This meant the M7 could shoot in Auto mode – a big change for the traditionally all-manual M series . The trade-off was dependence on batteries: aside from two mechanical fallback speeds (1/60 and 1/125), the M7’s shutter requires power . The M7 also read DX-coded film ISO and allowed exposure compensation . It was produced until 2018, marking the end of Leica’s film M lineage with electronic automation.

2003–2004 – Back to Basics Again: In 2003, alongside the M7, Leica launched the MP (Mechanical Perfection) – essentially a brand new film camera built to 1950s specs with modern refinements. The MP is often described as an M2 with a meter: it has a fully mechanical shutter and no auto mode, a classic rewind knob, and a viewfinder improved to resist flare . It omits the red Leica logo for a stealthy look. The MP (2003–present) and later the M-A (Typ 127) in 2014 – a completely meterless, purely mechanical camera akin to a brand-new M3/M2 – showed Leica’s continued commitment to film. (Both the MP and M-A remain in small-batch production, catering to purists .)

2006 – Enter the Digital Era (Leica keeps the M): Leica surprised the world by maintaining the M mount and rangefinder format for digital. The Leica M8 (2006) was the first digital M, featuring a 10.3 megapixel CCD sensor at APS-H size (~1.33× crop factor) in the classic M body. It preserved the rangefinder focus mechanism but, unlike its film predecessors, had no reflex mirror or autofocus – truly a digital rangefinder. The M8 had some quirks: its sensor’s IR filtering was weak, causing blacks to turn magenta unless you used IR-cut lens filters . Still, it proved that a digital Leica M was viable and paved the way for full-frame digital Ms.

2009 – Full-Frame and Forward: The Leica M9 (2009) one-upped the M8 by achieving a full-frame 24×36mm sensor, a milestone in rangefinder history. The M9’s 18 MP CCD delivered gorgeous image quality and the classic M shooting experience without crop factor. Photographers lauded its rich, film-like colors, though it wasn’t without issues – notably a sensor corrosion problem that later required many sensors to be replaced . Special editions like the M9-P soon followed, and in 2012 Leica even introduced the M Monochrom (Typ 246) – a variant with a black-and-white-only sensor to maximize resolution and tonality.

2012/2013 – The “Typ 240” and Modernization: Breaking the numbering sequence, Leica announced the Leica M (Typ 240) in late 2012 (shipping in 2013) as the next-generation digital M. It brought major changes: a 24 MP CMOS sensor (switching from CCD), live view capability and 1080p video, and optional electronic viewfinder support – features previously unthinkable in an M . The body was slightly thicker and heavier to accommodate these features and a larger battery. Purists had mixed feelings, but the Typ 240 (and its stripped-down sibling, the M 262, without video) added versatility. Leica iterated with variants like the M-P 240 (with a bigger buffer and no red dot logo) and the M-D 262 (which omitted even the rear LCD for a film-like experience).

2017 – “Back to the Roots” with the M10: Leica returned to the traditional naming scheme with the Leica M10 in 2017, explicitly positioning it as a return to the classic form and function . The M10’s body was slimmed to nearly the same thickness as the old film Ms, shedding about 8mm from the Typ 240 and feeling “like a film body” in hand . Leica removed video recording and focused purely on stills. The M10 packed a 24 MP CMOS sensor with improved high-ISO performance and a much-expanded ISO dial on top for direct control. Notably, the optical viewfinder was widened to 0.73× magnification with better eye relief, addressing complaints that earlier digital Ms (M8/M9 at 0.68×) were harder to focus, especially for glasses wearers . The M10 lineup later expanded to include the M10-P (quieter shutter, no logo), M10-D (no rear LCD), M10 Monochrom (41 MP mono sensor), and M10-R (40 MP color).

2022 – The Latest Generation: The current flagship is the Leica M11 (released January 2022), which pushes the envelope with a 60 megapixel full-frame BSI CMOS sensor. Uniquely, the M11 offers “Triple Resolution” capability, letting the shooter output 60, 36 or 18 MP RAW files using the full sensor area for flexibility . The camera retains the classic M rangefinder design but modernizes many aspects: it removed the traditional baseplate to allow direct access to the battery and SD card (a controversial but practical change) , it has a new high-capacity battery (64% more power than M10) , and even 64GB of internal storage so you can shoot without an SD card in a pinch . The M11 supports USB-C tethering/charging and improved metering (multi-field metering even when using the rangefinder) . Leica continued its tradition of variants with the M11 Monochrom (2023) sporting a 60 MP monochrome sensor, and the M11-P (2023) which adds subtle design tweaks and likely software extras.

Throughout this evolution, Leica has maintained a remarkable continuity: nearly all M-mount lenses from 1954 onward (and even older screw-mount lenses via adapter) can be used on the latest digital M cameras, preserving the system’s charm and investment . Despite technology updates, the essence of the M – a compact, quiet, manual-focus rangefinder that prioritizes the essentials – remains unchanged.

Key Features and Specs of Significant Leica M Models

Let’s take a closer look at a few landmark Leica M cameras – both film and digital – and what makes each one special:

Leica M3 (1954–1966)

The camera that started it all, the M3 was a mechanical masterpiece of the mid-20th century. It introduced the M bayonet mount and combined rangefinder/viewfinder with parallax-correcting framelines – hence the name “M” for Meszoekamera (rangefinder camera) . Key features:

35mm film, fully mechanical: No electronics or light meter; works without any battery.
Viewfinder/RF: 0.91× magnification, the highest of any M, which made focusing extremely accurate – especially with 50mm and longer lenses . The finder showed frames for 50, 90, 135 mm; 35mm lenses needed “goggles” or external finders since the M3’s high magnification couldn’t natively show 35mm coverage .
Advance mechanism: Early M3s had a distinctive double-stroke film advance (requiring two short lever winds to cock the shutter); later models switched to single-stroke. All had a smooth, quiet wind-on that became a Leica hallmark.
Build: All-metal, precise construction. Even decades later, a well-maintained M3 feels solid and the shutter sounds like a “mechanical whisper.” Many M3s are still in use – a testament to Leica’s engineering.

Impact: The M3 set the template for Leica’s design ethos: build a photographer’s tool that prioritizes optical quality and reliability over feature gimmicks. It was wildly successful (over 220,000 made ) and used by legends like Henri Cartier-Bresson. Collectors covet early serial-number M3s; one of the very first units sold at auction for $408,000, though a normal user M3 typically sells for ~$1,000–2,000 today .

Leica M6 “Classic” (1984–1998)

After the brief hiatus following the M5, the M6 revived Leica’s fortunes and is often considered the quintessential film M. It kept the beloved size and mechanics of the 1960s models but added a simple light meter. Key features:

35mm film, mechanical shutter with light meter: Shutter speeds 1s – 1/1000s (plus Bulb) are mechanically set; if the two SR44 batteries die, you lose only the meter, not the camera’s function. The through-the-lens (TTL) meter uses a silicon photodiode and displays red LED arrows (and later a dot) in the viewfinder to guide exposure .
Viewfinder: 0.72× magnification with framelines for 28, 35, 50, 75, 90, 135 mm (pairs appear in combinations). This became the standard mag for most Ms henceforth. Near the end of production, Leica also made small batches with 0.85× (for telephoto users) and 0.58× (for wide-angle shooters) finders .
Design and build: Very much like the M4-P internally. Brass top plate in early models (later ones went zinc). The M6 is famed for its simplicity and reliability – no auto mode, no frills, just the essentials. As Leica says of the new reissue, it embodies a conscious rejection of unnecessary features in favor of focusing on the essential .
Variants: The M6 TTL (1998–2002) updated the design with TTL flash capability, a slightly taller body, a larger shutter dial (rotating opposite direction), and the addition of a center “●” LED in the meter display for correct exposure . It also offered 3 viewfinder mag options (0.58, 0.72, 0.85). Many enthusiasts prefer the classic M6 (smaller dial) for its handling, but both are excellent.

Legacy: The M6 became the 35mm rangefinder of a generation, used by photojournalists and artists alike through the ’80s and ’90s. It’s often recommended as the “if you only have one Leica film body” choice because of its balance of features. Even Leica itself recognized its enduring appeal – in 2022 Leica reissued the M6, brand new, with minor updates (improved 0.72 finder with anti-flare coating, a new solid brass top plate, and a modernized meter display with a red dot for correct exposure and a battery warning) . This “reborn” M6 shows how relevant the 1984 design remains today.

Leica M7 (2002–2018)

The M7 was an evolutionary dead-end in some ways – the first and only electronically-controlled film M – yet it provided a bridge between old-school and modern shooting. Key features:

35mm film, electronic shutter with aperture-priority auto: The M7’s cloth focal-plane shutter is electronically timed, allowing Auto exposure (AE) mode – a first for Leica. You set the aperture, and the camera will choose the shutter speed steplessly. In AE, the viewfinder displays the chosen speed. Photographers who wanted a bit of automation (for speed or ease) got it, while still focusing manually and enjoying the rangefinder.
Manual control & dependencies: You can still set shutter speeds manually (the classic dial with speeds 1/1000s down to 1s, plus Bulb). However, without battery power, the M7 defaults to only two mechanical speeds: 1/60s and 1/125s . This is a safety net to keep shooting if the batteries die, but essentially the camera is designed to use batteries full-time. The M7 added an ON/OFF switch around the shutter release to prevent accidental drain .
DX coding and viewfinder: The M7 reads DX-coded film canisters to set ISO automatically (a convenience, though ISO can still be set manually). It also finally gave Leica users an in-viewfinder light meter display of shutter speeds – a welcome information upgrade over the M6’s simple arrows.
Feel: Externally it’s very similar to the M6 TTL. Some long-time M users weren’t fond of the electronic reliance, but others loved the convenience of Aperture Priority for quick shooting (e.g. street photographers who needed to react fast). The M7 also had a smoother TTL flash sync and was the first M to use a bright-line LED illuminated frameline (instead of natural light entering the window).

Pros & Cons: The M7’s strength is speed and ease of use – you can shoot it like a semi-automatic camera, which is great for aperture-preferred shooters or in fast-changing light. It’s also quieter in operation than many SLRs with auto modes. The downside is complexity: more electronics to potentially fail, and indeed Leica ended M7 production partly because some electronic parts became hard to source. Today, used M7s average around $2,900 on the market, which is actually lower than many older all-mechanical Leicas (a 20% drop below its historical average value) . This suggests that many buyers still prefer the fully mechanical Ms (like MP or M6), making the M7 a relative bargain for a film Leica with advanced features.

Leica M8 (2006–2009)

The M8 was Leica’s digital debut for the M series and thus holds a special place in history. It wasn’t perfect, but it proved the concept of a digital rangefinder. Key features:

Digital rangefinder with 1.33× crop CCD sensor: The M8 has a 10.3 megapixel CCD sensor (crop factor ~1.33). This meant lenses behaved a bit tighter (e.g. a 35mm lens gave a ~47mm equivalent field of view). It also meant some framelines were repurposed (e.g. 35mm frame used to compose roughly a 50mm field on sensor).
No Live View, optical RF focusing only: The M8 maintained the pure rangefinder focusing/viewing mechanism. There was a rear LCD for menus and reviewing shots, but you could not focus or compose through the LCD. In essence, Leica carried over the entire analog user experience to digital – you still focused by aligning the rangefinder patch and saw bright-line framelines projected for composition.
IR sensitivity quirk: The M8’s sensor cover glass did not block infrared light strongly. As a result, under certain conditions black fabrics or synthetic materials could show a magenta color cast in images. Leica’s solution was to provide IR-cut filters to mount on lenses, which eliminated most of the false color . This was a notable hiccup (and somewhat dented the M8’s reputation early on), but many users adapted by permanently using IR filters on their lenses.
Performance: Base ISO was 160, and workable ISO only up to about 640 or 1250 before heavy noise (CCD limitations of the era). The M8 also had a notably loud shutter for a Leica (with an electronically controlled “cocking” motor) – not as whisper quiet as an M7 or MP, but still quieter than most DSLRs of the time.
Iteration: Leica released an M8.2 update in 2008 with a quieter shutter, sapphire LCD cover, and some firmware tweaks, addressing some early criticisms.

Reception: Despite its challenges, the M8 was and is loved by a subset of photographers for its CCD sensor’s rendering – often described as having a “film-like” or uniquely rich color output (particularly for black & white conversions and Leica’s own lenses). It kicked off the digital M era, and collectors may seek it for that reason. On the used market today, a good M8 often goes for around $2,000+ (surprisingly, M8 prices have even risen slightly in recent years – up ~6% over historical average – possibly as a niche collectible or entry point into digital M ).

Leica M9 (2009–2012)

The M9 took the baton from the M8 and achieved what rangefinder aficionados had long awaited: a full-frame digital sensor in the classic M body. Key features:

Full-Frame 18MP CCD: The M9’s Kodak-designed CCD was 24×36mm, matching the traditional film frame. This meant all M lenses once again produced their intended field of view with no crop factor – a huge draw for Leica users with investments in wide-angle glass. The 18-megapixel resolution was ample for the time and known for very sharp, detailed output.
No Infrared Issue (but new problem emerged): Leica used a different IR cut filter on the M9’s sensor package, so the M8’s magenta blacks problem was solved. However, a sensor corrosion issue appeared over time: the thin protective cover glass could develop spots (white speckles in images). Leica eventually acknowledged this and offered sensor replacements for affected cameras . That program had a time limit, so some M9 units on sale now may have unreplaced corroded sensors, which is a consideration for used buyers.
Shooting experience: Like the M8, the M9 is a pure optical rangefinder with no live view or video. It has a 0.68× mag viewfinder, framing 28–135mm lenses (with 28mm now usable full-frame!). The ISO range was still limited – base ISO 160, usable up to 800 or 1600 in a pinch. It has a reputation for gorgeous color at base ISO (some say due to the CCD sensor characteristics).
M9-P and variants: Leica released the M9-P in 2011, essentially an M9 with a more scratch-resistant sapphire LCD and no front Leica logo (more discreet). There was also an M-E (Typ 220) – a late M9 variant in 2012 that was slightly stripped down (no frame line selector lever, gray paint) to serve as a “lower-cost” digital M.

Legacy: The M9 was a milestone – the first full-frame digital rangefinder ever made. It cemented Leica’s ability to continue the M lineage in the digital age. Many photographers created stunning work with M9s (the 18MP are sharp enough for large prints). To this day, some enthusiasts keep an M9 for its distinctive look. Used prices for M9s hover in the ~$2,000–$3,000 range, with the caveat of sensor condition – models with a new replacement sensor command higher prices, while a corroded-sensor M9 might sell for much less unless repaired.

Leica M10 (2017–2022)

With the M10, Leica arguably perfected the digital formula by combining modern imaging with the beloved form factor of its film ancestors. Key features:

24MP Full-Frame CMOS, Maestro II processor: While resolution remained 24MP (like the prior Typ 240 generation), the new sensor and processor brought improved dynamic range, low-light performance, and speed. Notably, the M10 dropped all video functions, focusing purely on still photography – “a return to its roots” as Leica declared .
Slim body and ergonomics: The M10’s biggest physical feature is its thinner body – at ~33.9mm deep, it’s nearly identical to an M7/M6 (which is ~33.5mm). After the thicker digital Ms, the M10 felt like a classic film camera in hand, which users loved . The weight ~660g is only ~30g heavier than an M6 . This reduction was achieved partly by removing the baseplate (a removable baseplate had persisted through M8 and M9, mostly for tradition). The M10 has a dedicated ISO dial on the top plate – another nod to analog cameras, allowing full control of ISO, shutter, aperture with physical dials.
Viewfinder improvements: Leica slightly increased the finder magnification to 0.73× and significantly increased the eye relief, making it easier to see the 28mm framelines and use the RF for those with glasses . The rangefinder mechanism was also tweaked for greater focusing accuracy and consistency . Many users report the M10’s optical RF is the best Leica has ever made in terms of clarity and ease of use.
Performance and features: ISO now ranged from 100 up to 50,000 – a huge step up, meaning for the first time an M could be considered a low-light capable camera on par with DSLRs of the time. Continuous shooting was modest (5 fps) but not really the point of an M. The M10 gained built-in Wi-Fi for image transfer. It also allowed the use of Leica’s Visoflex (EVF) for those who wanted electronic Live View or to shoot ultra-wide or tele lenses more easily. With live view, you could do things like focus on an LCD or EVF and even use focus peaking or zoom-in for critical focus (very useful when shooting lenses like the Noctilux at f/0.95).
Variants: Leica expanded the M10 family: the M10-P (2018) introduced an ultra-quiet shutter and touch-screen, with a frameline selector lever added back and no red dot logo. The M10-D (2018) went the opposite way – no rear screen at all, for a pure film-like experience (it has a Wi-Fi on-off lever where the film advance would be, and one must use a phone or just shoot blind and review later). Later came the M10 Monochrom (2020) with a 40MP monochrome sensor (astonishing detail in B&W), and the M10-R (2020) with a 40MP color sensor for those needing extra resolution.

Reception: The M10 was widely hailed as “the best digital M ever” at launch . Seasoned Leica users felt that Leica had finally brought the digital M fully back to the feel of the classic M3/M6 era, while delivering state-of-the-art image quality. Reviewers noted that film holdouts were tempted by the M10, since it preserved the shooting experience (even omitting video as a statement) . If the M9 was about image aesthetic, the M10 was about holistic shooting feel combined with reliable results. On today’s used market, standard M10 bodies average around $4,000+ depending on condition . Higher-res variants like the M10-R still fetch more. The M10-P, with its whisper-quiet shutter, is especially prized by street photographers who want maximum stealth.

Leica M11 (2022–Present)

The M11 represents the current peak of M development – blending tradition with cutting-edge tech. Leica calls it “a legend reinvented,” balancing iconic design with state-of-the-art capabilities . Key features:

60MP Full-Frame BSI CMOS sensor: This back-side illuminated sensor triples the pixel count of the M10 and introduces Triple Resolution output. Photographers can choose 60, 36, or 18 MP RAW (DNG) files, depending on whether they want full detail or smaller files with improved light gathering (the lower resolutions are achieved by pixel binning, effectively yielding better high ISO performance at 18MP, for example) . This flexibility is great for adapting to different needs – a unique feature among cameras.
ISO and dynamic range: Base ISO was lowered to 64 (for maximum dynamic range of up to ~15 stops) . High ISO up to 50,000 is available and clean by rangefinder standards. The M11’s dynamic range and color depth are among the best of any full-frame camera of its generation, ensuring rich image quality even in challenging light.
Revised design: While dimensionally similar to M10, one notable design change was eliminating the traditional bottom baseplate. Now the battery and SD card load directly via a hinged compartment – this speeds up battery changes and card swaps in the field . (Some nostalgists miss the old baseplate, but most appreciate the practicality.) Interestingly, the black-finish M11 uses aluminum top plate for weight savings, making it 20% lighter than the silver chrome (which still uses brass top) – you can choose your preference for heft vs. weight.
Battery and storage: The new battery packs ~64% more capacity than the M10’s, addressing one of the weaker points of past digital Ms (battery life) . Plus, the M11 has 64 GB internal memory, essentially a built-in backup drive – you can shoot to internal storage, or use it alongside an SD card for dual storage (JPEGs to one, RAW to the other, etc.) .
Metering and shutter: Leica finally enabled multi-field evaluative metering in rangefinder mode (previous digital Ms were center-weighted or spot only). So, even without using live view, the M11 can intelligently meter a scene . The camera also introduced an electronic shutter up to 1/16000s, allowing shooting wide-open in bright light without ND filters – great for f/0.95 Noctilux users in daylight. The mechanical shutter remains very quiet and syncs with flash up to 1/180s.
Connectivity: A USB-C port on the bottom allows direct connection to a phone or computer; the M11 is even certified “Made for iPhone/iPad” for smooth integration . You can charge the battery internally via USB-C. Leica’s FOTOS app can remote-control the camera and handle wireless duties (the M11 has Bluetooth in addition to Wi-Fi).
Viewfinder and options: The optical rangefinder is similar to the M10’s (0.73×). An upgraded Visoflex 2 EVF (optional) with 3.7MP resolution can mount on the hotshoe, providing live view at eye-level for critical focus or very wide/tele lenses. Of course, focus peaking and magnification are available in live view, which is invaluable when dealing with 60MP – to ensure your focus is tack sharp.

The M11 in use: Despite the tech upgrades, Leica emphasizes that the M11 remains true to the M ethos: manual controls, a deliberate shooting process, and an intimate connection with your subject. “As a rangefinder camera, it offers a unique shooting experience that fosters a deeper connection with the subject,” Leica writes of the M11 . In practice, the M11 can be as simple or as techy as you want – you can ignore the menus and shoot it like an M6 with a digital back, or leverage its modern conveniences. It’s one of the most compact 60MP full-frame cameras in the world. Early reviews and user feedback often call it the best M yet for image quality.

Current status: The M11 is Leica’s current production model (joined by the M11 Monochrom). It’s very expensive new (MSRP around $9,000 USD for the base model, and more for Monochrom or P). Recent tariff changes (25% import tariffs on German-made cameras in the US as of 2025) have driven prices even higher – Leica’s price list saw ~20–30% hikes, pushing the M11 well above $10k in some markets . This has, in turn, boosted used prices for older models as alternatives . If you’re eyeing an M11, be prepared for its cost – but also its unparalleled blend of tradition and tech.

Comparing Popular Leica M Models: Strengths, Weaknesses & Use Cases

Over decades of incremental improvements, Leica Ms have each developed their own “personality.” Here we compare some of the most-discussed models head-to-head to understand their differences:

Classic Film Models: M3 vs M6 vs M7

To illustrate the evolution of the 35mm film Ms, below is a comparison of three iconic models – the purely mechanical original M3, the metered manual M6, and the aperture-priority hybrid M7:

Model (Years)	Leica M3 (1954–66)	Leica M6 (1984–98)	Leica M7 (2002–2018)
Metering	None – external meter or Sunny-16; fully manual exposure .	Built-in light meter (LED arrows in finder) but manual exposure control .	TTL metering with Auto mode (aperture-priority AE) ; manual override available.
Shutter	Mechanical cloth focal-plane; 1s – 1/1000 + B. No batteries required.	Mechanical cloth; 1/1000 – 1s + B. Battery powers meter only (camera works without) .	Electronic cloth; 1/1000 – 32s in A mode, 1/1000 – 1s + B manual. Requires batteries for most speeds (only 1/60 & 1/125 are mechanical) .
Viewfinder	0.91× mag. Framelines: 50, 90, 135 mm (fixed). No 35mm frame (used external finders) . Extremely bright and high contrast RF patch (best for 50mm+ focus accuracy).	0.72× mag (standard). Framelines: 28, 35, 50, 75, 90, 135 mm (pairs). LED meter arrows visible in finder. Late M6 TTL offered 0.85× or 0.58× options for tele/wide users .	0.72× mag (standard; a few 0.85/0.58 made). Framelines same as M6. Finder LED displays shutter speeds and meter in Auto mode. Improved anti-flare optics vs early M6.
Notable Strengths	Ultimate mechanical simplicity & reliability. Highest magnification – ideal for 50mm and 90mm lenses (precise focus). Iconic build quality; many still working 60+ years on.	All-rounder: Adds meter convenience while keeping mechanical operation. No dependence on electronics except meter. Huge user base, easy to service, many parts available. Seen as the best balance for a film M for general use.	Convenience: Aperture-priority automation speeds up shooting. Great for fast street work or when lighting is variable. DX coding eases ISO setting. Viewfinder info is more informative.
Notable Drawbacks	No built-in meter – slows shooting for some; also no 35mm frameline (makes 35mm lenses less handy). Viewfinder can white-out in strong backlight (older coating technology).	No auto-exposure – purely manual metering. Meter arrows take practice for newcomers. Early 0.72x finders sometimes had flare (later MP optics fixed this). Otherwise few weaknesses – which is why the M6 is so revered.	Electronic reliance – if the electronics fail or battery dies, camera becomes very limited. Long-term serviceability of electronic boards is a concern as Leica no longer stocks some parts. Also, the feel of an electronic shutter (and slight lag in release) is different from the crisp mechanical click of an M6. Some purists prefer the older fully manual Ms for these reasons.

Use Cases: The M3 remains a favorite for 50mm lens shooters, portraitists, or anyone who wants the smoothest mechanical experience. It’s a joy in its simplicity but requires external metering. The M6 is often deemed the best all-purpose film Leica: ideal for street photography and travel – you get a meter to nail exposure, but you’re still completely in control; it’s also quieter than an M7 (since no electronic sounds) and doesn’t need batteries to shoot. The M7 caters to those who like some automation – event shooters or candid street photographers who might benefit from Aperture Priority for reactive shooting. For example, if you’re shooting street and light suddenly changes, the M7 can adjust shutter speed on the fly, whereas with an M6 you’d need to meter and change speed manually. However, many M7 users still shoot in manual mode too, treating the AE as optional.

In terms of value: the M6 has seen explosive demand in recent years, with used prices climbing. Before the 2022 M6 reissue, older M6 Classics were reaching $3,000–$3,500; after the reissue and more supply, nice ones settled around $2,500 . The M7, conversely, often costs a bit less used (around $2.5–$3k) , which is ironic given it was more expensive new – but reflects the market’s bias for mechanical Leicas. For someone entering Leica film cameras in 2025, an M7 can be a relative bargain for a newer camera – if you’re comfortable with its electronics-dependent nature.

Modern Digital Models: M8/M9 vs M10 vs M11

On the digital side, Leica has made notable leaps with each generation. Here’s a high-level comparison of the progression from the first digital M to the latest:

Model	Leica M8 (2006)	Leica M9 (2009)	Leica M10 (2017)	Leica M11 (2022)
Sensor	10.3 MP CCD, APS-H (1.33× crop) . No IR cut: required external UV/IR filters to prevent color cast .	18 MP CCD, Full Frame 24×36mm. Added IR filter (no external filters needed). Known for rich color output. Potential sensor corrosion issue requiring replacements .	24 MP CMOS, Full Frame. New Maestro-II processor. No video, no crop – pure stills. Excellent color and dynamic range, much improved high-ISO over CCD models.	60 MP BSI-CMOS, Full Frame. Maestro-III processor. Triple Resolution output (60/36/18 MP) . Huge dynamic range (up to ~15 stops) at base ISO 64 . Best high-ISO performance of any M to date.
ISO Range	160–2500 (pull 80). Realistically usable up to ~640 before heavy noise.	160–2500 (pull 80). Usable up to ~800–1600; above that, noise and banding increase.	100–50,000 (native). Clean and usable up to ~6400 or more; vastly better low-light capability than M8/M9. (No video means all resources went to image quality.)	64–50,000 (native). Usable at very high ISOs; even ISO 12,500 can look clean. Base ISO 64 maximizes dynamic range . Offers electronic shutter for 1/16000s to shoot wide open in bright light .
Viewfinder & Focusing	0.68× magnification RF, framelines for 24, 35, 50, 75, 90, framelines adjusted for crop factor (e.g. “24” frame shows ~32mm field). No live view. Focusing via split-image RF patch only (traditional RF).	0.68× RF, framelines for 28, 35, 50, 75, 90, 135 (full-frame coverage). No live view. RF focusing only. (External EVF not available on M9.)	0.73× RF, improved eye relief for better frameline visibility . Optional Live View via rear LCD or Visoflex EVF (2.4MP) – first time on a numbered M. This allows focus peaking/zoom for critical focus if needed, or using ultra-wide lenses without external finder.	0.73× RF (similar to M10). Optional high-res Visoflex 2 EVF (3.7MP). Live view on rear 2.3M-dot touchscreen. In RF mode, new multi-field metering aids exposure . Focus still manual RF (contrast or EVF assist).
Notable Features	First digital M – retains classic form. CCD render has unique look. Weak IR filter means creative IR photography is possible (some use it intentionally). No frills: no video, no liveview, just basic review screen and settings. Battery ~500 shots. Shutter ~1/8000s max (electronic cocking, a bit loud).	Full-frame Leica look in digital. Last of the CCD Ms. Simple interface. No liveview, no video. Shutter 1/4000s max, sync 1/180. Known for the “Leica glow” in images at base ISO. Many used M9s have new replacement sensors (a plus). Classic frameline lever present.	Slim body (film camera proportions) , dedicated ISO dial (no menu diving for ISO). Quiet shutter (even quieter on M10-P variant). Wi-Fi connectivity for the first time in M. Weather sealing improved (though not officially rated). No logo on M10-P for stealth. Overall, the M10 feels like an analog M that happens to use an SD card.	Internal storage (64GB) and USB-C connectivity for modern workflow . Much larger battery (shoot hundreds of images more per charge) . Multi-shot metering even with RF use. Highly configurable through menus (while still offering a minimalist Favorites menu for simplicity). Essentially, the most technologically advanced M ever, but still retains the core handling of an M.
Strengths	Pros: Classic feel; cheaper entry into Leica digital; unique color output; smaller file sizes easy to handle. Strength: Unintended IR sensitivity gave M8 images a distinct look (when corrected with filters, colors can be excellent, and you can do intentional IR photography easily).	Pros: Full-frame finally; beautiful image quality in good light; still one of the smallest full-frame digitals. Strength: Simplicity – truly just a digital film camera. Many adore the M9 CCD “mojo” for certain tones (particularly BW conversions that mimic film).	Pros: Best balance of everything – size, performance, reliability. Feels like a film camera in hand but delivers pro-grade digital files. Much improved ISO means you can use it in low light (something earlier Ms struggled with). The optical finder is the best Leica made (until M11’s equal). And with variants like M10-P, you have near-silent operation – one of the quietest shutters ever, ideal for discreet shooting.	Pros: Unmatched image detail (rivaling medium format in a compact body). Flexibility with resolution options. Up-to-date conveniences (USB-C, internal memory) that make shooting and managing files easier. Retains that Leica magic in build and operation. Essentially, you sacrifice nothing in image quality compared to modern DSLRs/mirrorless – the M11 brings the M line fully into parity with other 2020s high-end cameras, while keeping the rangefinder soul.
Weaknesses	Cons: High ISO performance is poor by today’s standards. No live view or EVF means certain lenses (wides <24mm, teles >90mm) are hard to use without guesswork. The crop factor can be limiting if you love wide-angle. Also, the need for IR-cut filters was an inconvenience . As a first-gen product, the M8 had more frequent service needs (e.g. shutter upgrades).	Cons: ISO limited; not great above 800. No live view – you are reliant on RF, which can mis-focus if calibration is off or with very fast lenses (f/1.0, etc.). The infamous sensor corrosion issue hurt many M9s – buyers must ensure a replaced sensor. The shutter sound is a bit louder and more metallic than film Ms. Also, the camera buffers and writes slowly by modern standards.	Cons: 24MP is a sweet spot, but by late 2020s some wanted more resolution (hence the M10-R 40MP version). No video might be a downside for some hybrid shooters (though many Leica users don’t mind). Battery life (~210 shots CIPA) is just okay – you’ll want spare batteries for a full day. The price, of course, remains high, and adding things like an EVF is extra. But in truth the M10 is very refined; its “weaknesses” are mostly inherent to all digital Ms (manual focus only, rangefinder limitations for certain photography genres).	Cons: The 60MP files can be demanding – on storage, processing, and on lens quality (older lenses may show their aberrations more at such resolution). Focusing critically is also more challenging at 60MP – using the EVF or magnified live view is advised for fast lenses to ensure you nail focus. Some users miss the baseplate (for nostalgia) or found the deletion of the frame line preview lever (on standard M11) unfortunate. The M11 is also the priciest standard production M ever on release. And one could argue that at 60MP, you’re approaching “overkill” for some uses – if you don’t make large prints, the M10 or M9 already exceed web/screen needs.

Choosing between them: For a digital Leica newcomer in 2025, the M10 strikes an excellent balance of price vs performance – it’s “modern enough” (full-frame, 24MP, good ISO) while maintaining the heritage feel. The M8/M9 are more specialized choices: they appeal to those who either love the look of the CCD sensor or want a comparatively affordable entry into Leica digital. They can certainly still produce stunning images (especially at base ISO in good light), but one must be willing to work around their limits. The M11 is the no-compromise option – if you demand the highest resolution or often crop your images, or you just want the latest and greatest M with all the conveniences, the M11 delivers. It’s the best choice for professional use where image quality is paramount, or for landscape work where 60MP and dynamic range shine.

A quick community observation: Interestingly, used digital M prices have stabilized in recent years – even as film M prices soared. A market analysis in 2025 showed “M film prices continue to rise and M digital prices flatline” . Early digital Ms like the M8, M9, and M240 are relatively attainable now, since digital tech ages faster than mechanical bodies. This means a savvy buyer can get into a used M9 or M240 for a fraction of a new M11, enjoying the rangefinder experience without a six-month salary outlay. Meanwhile, film Ms have become collectibles, sometimes costing as much or more than their digital counterparts (e.g. a recent sale saw a Leica M2 body go for $3,300 – far above its historical average , even more than many used M240 digital bodies!).

Current Pricing and Collector Value Trends

Leica Ms are not just cameras; they’re investment pieces and collectors’ items. Let’s break down the current market (as of late 2025) for both new and used Leica M cameras:

New Leica M Cameras (MSRP): Leica’s pricing is uniformly high and saw an increase in 2025 due to tariffs . A new Leica M11 is around $9,000–$9,500 USD (body only) before any special editions. The M11 Monochrom (60MP B&W sensor) is even more, roughly $9,200+. A new film Leica MP or M6 2022 reissue costs about $6,415 USD (Leica recently adjusted it from $5,995) . The simpler M-A (Typ 127) (no meter film body) is in a similar range (~$5,895 before the tariff, now likely above $6,300) . In short, buying new from Leica is a serious wallet test – but comes with warranty and that fresh “out of the box” joy.
Used Digital Ms: As mentioned, older digital Ms are comparatively affordable now. A Leica M8 can often be found for ~$1,300–$1,800 depending on condition (some go higher if pristine or with the IR filters included). The Leica M9 averages about $2,000–$3,000 used, but beware sensor status – ones with the new, corrosion-resistant sensor carry a premium (potentially $3k+), whereas original sensors might require a ~$1k fix if not already done . The Leica M (Typ 240) series (2013–2016) can be a bargain: standard M240 bodies often around $2,400–$2,800 now . For what was a $7k camera new, that depreciation is significant – great for buyers. The Leica M10 models still hold higher: a standard 24MP M10 is about $4,000–$4,500 used in good shape . The 40MP M10-R or M10 Monochrom tend to be more (closer to $6k). The current M11 is so new that used ones aren’t much cheaper than new; they range $6,000–$8,000 on the secondhand market (average ~$7k) which interestingly is a bit above historical average – likely because people are willing to pay a premium to skip the waitlists .
Used Film Ms: This is where it gets interesting. Over the past few years, film camera prices have surged due to renewed interest in analog photography. Leica, being the gold standard, saw huge jumps. For instance, a Leica M6 “Classic” that was $1,500 a decade ago became ~$3,000+ at the peak hype. However, with the new M6 (2022) release, some pressure eased and a lot of older M6s came to market – by early 2023, plentiful nice M6es were selling around $2,500 (down from $3,500 pre-reissue) . The reissued M6 itself originally listed at $5,295, but secondhand units in late 2024 were actually going for around $2,400–$2,800 (some owners flipping at a loss, perhaps due to ample supply or personal reasons) . This means if you want an M6, you now have options: buy a brand-new M6 for $6k+ or a used 1980s M6 for ~$3k or even a lightly used 2022 M6 for ~$4k.
Other film models: Leica M3 bodies (user condition) usually hover in the $1,200–$1,800 range. Interestingly, despite being the OG, the M3 is not the most expensive – largely because ~220k were made (supply is relatively plentiful) and many people now want built-in meters. In fact, average M3 prices were slightly down ~19% vs historical norms in 2025 , likely as people shift to metered models. The Leica M2 and M4 have seen big climbs: an M2 that used to be $500 now might be $1,500–$2,000. In one report, the M2’s average was $2,300 (a 52% jump over historical) and M4 averaging $2,125 (up 8.9%) or even higher for black paint versions . The quirky M5 is no longer the bargain bin – its average hit $1,799 (up 20%) as users realize it’s actually a very capable camera for less than an M6. The M7, somewhat contrary to intuition, has been steadily appreciating too (about +14% over average, with premium examples around $3,900) – perhaps because it’s the last film M and some enjoy its hybrid nature.
Collector’s Market: Leica is famous for special editions and the collector community is intense. Rarity and historical significance drive prices through the roof. For example, early Leica MP (1957) cameras (only 500 made) are worth a fortune – an M3-based MP in great condition can fetch tens of thousands. One of the very first Leica M3 prototypes sold for $408,000 at auction ! Similarly, Leica’s commemorative editions (like gold-plated anniversary models, Safari green editions, LHSA specials, etc.) are often produced in limited numbers and can double or triple the price of a regular camera among collectors.
But one need not be ultra-rich to collect Leica – many enthusiasts “collect user cameras.” For instance, you might hunt for a clean M4 black paint (fewer were made in black) or a M6 Titanium edition (Titanium finish M6 TTL, often ~$3,500+). These slightly rarer variants hold value well. Generally, Leica Ms hold their value or appreciate if kept in good condition. It’s not uncommon to buy a used M, use it for years, and sell it for around what you paid or more – effectively rent-free photography.

In summary, the Leica M is both a tool and an asset. Current pricing reflects their dual nature: you pay a lot up front, but you own a slice of photographic history that others are willing to pay for later. The trend in 2025 shows film Ms having a “renaissance” – people “embrace traditional values like reliability, trust and quality…cameras with a soul” as Leica’s own marketing for the M6 reissue puts it . This has made certain models very hot in the used market. Digital Ms depreciate more like normal electronics, yet even there, models like the M10 are holding strong, suggesting these cameras have passed from mere gadget to modern classic. If you’re looking to buy, decide whether you’re after a user camera (expect some brassing and a “shooter’s discount”) or a collector-grade piece (mint condition, which can command 30-50% more). And if you already own an M, take care of it – it’s likely as much an investment as it is a picture-making machine.

The Leica M Shooting Experience: Rangefinder Mechanics, Build Quality, and Mystique

Why do photographers become so enamored with Leica M cameras? The answer often lies in the unique rangefinder mechanism and the shooting experience it engenders. Let’s unpack what it’s like to use an M and why it’s often described in almost spiritual terms.

The Rangefinder Focusing Mechanism: Unlike an SLR or mirrorless camera, where you typically look through the lens or at an electronic screen, a rangefinder uses a separate optical viewfinder with a coupled rangefinder patch for focusing. When you twist the lens’s focus ring on a Leica M, you’re mechanically moving a cam that shifts a mirror/prism system in the camera, overlaying two images in the small rectangular focus patch in the center of the viewfinder. To focus, you align the two superimposed images until they become one – then you know the subject at that patch distance is in focus. It’s a system that feels at once analog and precise: there’s a slight snap into clarity when you hit perfect focus. Leica’s rangefinder has a long baseline (the distance between its two windows), giving high focusing accuracy – especially important for wide-aperture lenses. In fact, the Leica M’s rangefinder was so advanced in 1954 that even today it’s arguably the most precise manual focus system for fast lenses on moving subjects. The caveat is you typically focus on the central patch – so if your subject is off-center, you focus-then-recompose. It’s a different rhythm than autofocus points, but many find it engaging and rewarding.
Framelines and Composition: When you look through an M viewfinder, you see bright rectangular framelines delimiting your composition (Leica pioneered this automatic frameline feature – the appropriate frames pop up automatically depending on lens mounted, or via a selector lever). These framelines are parallax-corrected – they shift slightly as you focus closer, to compensate for the different viewpoint of the lens vs. viewfinder. The beautiful thing is: you see outside the framelines. This is often cited as a major rangefinder advantage for genres like street photography – you can observe the scene outside the edges of your frame, which lets you anticipate a subject entering your composition, or simply be more aware of context . Many feel this gives a more immersive, “real world” view compared to peering through an SLR tunnel. As one Leica ambassador put it, having fewer technical distractions allows you to focus on timing and composition – “the concept behind an image is as important as the image itself”, and the M encourages that concept-first shooting rather than fiddling with settings or menus .
Build Quality & Feel: Leica Ms are famously overbuilt. The classic ones have brass top and bottom plates, which wear elegantly (developing that brassy patina where black paint rubs off – something users call brassing with affection). The tolerances of the machining are tight; the advance lever action, the shutter release feel, the aperture ring clicks – all convey a sense of precision. An M camera from the 1960s, properly cared for, still feels solid today whereas many mass-produced cameras would have fallen apart. The newer digital Ms continue this feel (though the presence of electronics means they’re not entirely as immortal). When you pick up an M, you notice its density and the smoothness of its controls. Leica even still assembles and calibrates rangefinders by hand in Wetzlar, Germany. That craftsmanship is part of what you pay for. As Leica itself touts, their cameras stand for “permanent values such as reliability, consistency, and quality” . This reliability is not just anecdotal – reporters have dragged Ms through war zones (Don McCullin’s M2 in Vietnam, for instance) and they kept shooting.
Shooting Style – “Less is More”: Perhaps the most celebrated aspect is how the M’s limitations become its strengths. With a manual-focus rangefinder, there’s no autofocus, no through-the-lens viewing, no plethora of focus points or modes. There’s also usually no built-in zoom lenses (most M shooters use compact primes). At first glance, these are disadvantages. But many photographers find that by stripping away automation and excess features, the M forces you to slow down and engage with the fundamentals of photography – light, composition, moment. It “deliberately doesn’t offer everything that’s technically possible, but remains limited to what’s photographically useful” as Leica puts it . This design philosophy means the camera never gets in your way. You develop a flow with an M: set your aperture, pre-focus or zone-focus to a certain distance, watch for a subject to enter your framelines, and click the quiet shutter at the decisive moment. It’s no wonder masters like Cartier-Bresson used Leicas – they excel at the style of shooting where the photographer is fully present and anticipating.
Silent and Unobtrusive: Leica Ms (especially the film ones and modern M10-P/M11) have extremely quiet shutters – just a soft “snick.” There’s no mirror slap. This makes them fantastic for candid work or quiet environments. You can fire an M in a church or a meeting without drawing attention. They’re also very compact – an M body with a 35mm Summicron lens is jacket-pocketable. People often don’t find Leicas as intimidating as a big DSLR; subjects may not even realize you took a photo due to the camera’s discrete size and sound. This contributes to that feeling of “getting up close to the action – and to real emotions” that Leica advertises . Indeed, by being less obtrusive, an M helps the photographer blend in, which can lead to more authentic shots of people.
The “Unique Connection”: Many M users describe an almost Zen-like experience using the camera. Without an autofocus motor or burst mode to rely on, you are doing the work – aligning the rangefinder, choosing the moment. “The Leica M invites photographers to engage deeply with the creative process – to thoughtfully compose each frame and savour the nuances of light and shadow,” as the official M11 literature poeticly says . There’s a feeling among rangefinder photographers that the camera becomes “an extension of your eye.” That phrase is no exaggeration – Henri Cartier-Bresson himself said of his Leica, “It became the extension of my eye, and I have never been separated from it since I found it.” . When a tool gets out of the way to that degree, it indeed feels like part of you. Cartier-Bresson also coined the famous notion of the decisive moment and described taking a photograph as aligning “the head, the eye and the heart” in a single act . Using a Leica M encourages that alignment – your mind, vision, and emotional intent come together in the moment of clicking the shutter. Many cameras today can feel like computers; a Leica M feels like an extension of your body and mind in comparison.
Rangefinder Limitations: It’s important to also acknowledge what Ms don’t do well, as part of the experience. They are not versatile for every genre. Sports or fast action? A manual-focus rangefinder will struggle, especially past 90mm. Macro photography? Not really possible natively (rangefinders can’t focus closer than ~0.7m with most lenses; you’d need live view and special macro adapters). Long telephoto or wildlife? Forget it – the longest practical RF lens is ~135mm, and even that has a tiny frameline and razor-thin RF focus tolerance. Additionally, framing accuracy at very close distances can be iffy due to parallax (though Leica minimized this, you still can’t see exactly what the lens sees). So, an M is a poor choice for, say, bird photography or macro work of insects. But Leica never intended the M to be all things – it’s a camera for reportage, street, portraits, travel, and fine art; in those domains, its strengths outweigh its quirks.
Emotional Attachment: There is a running joke in the community captured by the quip: “A Leica owner takes more photos of his Leica than with it.” . This pokes fun at how enamored people get of the camera itself – the M cameras are so beautiful as objects that owners love to shoot product photos of their own Leica! While meant humorously, it points to a truth: Leica Ms inspire a pride of ownership and a confidence in use that few cameras do. They are often heirloom pieces, handed down from generation to generation. This emotional factor is a huge part of the Leica experience. You don’t just use a Leica, you form a relationship with it. It’s why some photographers stick with decade-old Ms even when newer cameras have come out – the bond and familiarity outweigh spec sheets.

In summary, the Leica M system’s rangefinder mechanism and exquisite build create a shooting experience that is fundamentally different from using a typical camera. It’s tactile, mindful, and steeped in photographic tradition. You feel connected to the history – knowing you’re looking through essentially the same style finder that Henri Cartier-Bresson or Garry Winogrand did. The limitation to mostly prime lenses and manual focus might sound like a handicap, but it’s actually liberating for many artists: “the liberation of limitation,” as one Leica photographer, Alan Schaller, calls it – by constraining gear and focusing on seeing, you unlock greater creativity . Leica M cameras truly put the photographer’s skill front and center. When everything comes together – camera, lens, subject, light – the resulting images often carry an elusive quality, a “Leica look” or feeling that enthusiasts swear by. It’s not magic; it’s the product of superb optics and the photographer’s deliberate process. As Leica’s own marketing nicely sums up: “The resulting images are not merely recordings of the world; they are expressions of the photographer’s soul, imbued with a unique character and emotional resonance.” . Grand words, perhaps – but spend some time shooting with a Leica M, and you’ll likely understand why users speak of it in almost romantic terms.

Choosing a Leica M: Recommendations for Different Users

Leica M cameras attract a diverse range of users – from hardcore collectors to working professionals to enthusiastic newcomers. If you’re considering joining the “red dot” family, here are some tailored recommendations:

For Collectors and History Buffs: If your primary interest is owning a piece of photographic history or something that will appreciate in value, look at classic models or limited editions. The Leica M3 (the original) is a must-have for a vintage collection – it’s the camera that defined 35mm rangefinders and an early serial in mint condition can itself be a treasure (remember that one fetched $408k at auction!) . More accessibly, a late-model M3 in excellent shape with original box might run a few thousand and steadily gain value as these cameras get rarer in top condition. The Leica M6 “Jahre” editions (like the 1984 50 Jahre or M6 TTL Millennium edition) are attractive to collectors – they often come in special finishes (platinum, etc.) and limited quantities. The M6 Titanium editions from the 1990s are also sought after (beautiful brushed finish and only a few thousand made). For pure collectability, also consider Leica MP-3 (a 2005 limited run that replicated the 1950s MP with modern internals – highly coveted) or the MP Hammertone LHSA edition. If money is no object, Leica’s Safari editions, Zagato edition M10, or the ultra-rare M6 ‘Null Series’ (a 2000s recreation of the prototype ur-Leica) are conversation pieces. From an investment standpoint, limited edition paint finishes (like M4 black paint, or any Leica that wasn’t normally offered in black paint or certain color) can appreciate nicely – they’re functional art.
That said, one of the joys of collecting Leica is that you can use these cameras too. If you collect, say, a Leica MP (2003) brand new, know that it’s also a current production film camera built to last – you can shoot a roll through it occasionally and still keep it in pristine shape. Some collectors even get two copies: one to keep pristine, one to use. Notably, Leica’s own reissues (like the current MP and M-A) indicate that even new film Leicas hold value – you’re unlikely to lose much if you ever resell a well-cared-for MP, since demand is high and supply limited. As of 2025, new MPs and MAs have seen price hikes to about $6,400 , and used ones often sell near that because they’re hard to find in stock.
For Street Photographers and Documentary Shooters: This is Leica’s home turf. Many of the world’s greatest street photos were made with an M, and for good reason: the cameras are quiet, quick, and allow you to shoot with both eyes open. A street shooter today has to decide film vs digital. Film option: The Leica M6 is a top pick – it gives you a meter for convenience but otherwise won’t get in your way. Street photography often involves fast adjustments on the fly; with the M6’s meter, you can nail exposure quickly (or even use Aperture Priority on an M7 if desired). The M6’s 0.72 finder is perfect for 35mm lenses – a favorite focal length on the street – and it’s compatible with 28mm (showing the whole finder area as the frame). Another fantastic film choice is the Leica MP (2003-present) if you want a brand-new camera that is essentially an M6 Classic with a few tweaks. The MP has the flare-free finder and gorgeous build, and it’s fully mechanical (meter aside). Many street shooters use zone focusing – Leica Ms excel at this because of their depth of field scale on lens barrels and the clear viewfinder. You can set a 35mm lens to f/8, focus at 3m, and know that roughly from ~1.5m to infinity will be in focus – then just frame and shoot without focusing for each shot. An M2 or M4 also works great for this style (they have 35mm framelines and no meter to fuss with).
Digital option: The Leica M10-P is arguably the ultimate digital street camera from Leica. Its shutter is virtually inaudible – crucial for candid work – and it has the minimalist aesthetic (no red dot, no script on front). With an M10-P and a 35mm Summicron, you can capture moments almost imperceptibly. The M10’s slim form won’t bulge your coat, and its high ISO allows night street shooting that film would struggle with. If you want to avoid the screen chimping entirely, the M10-D gives an even more filmic experience (and you can use the Leica FOTOS app on your phone if you need a preview). The newer M11 of course can be used for street too, but its high resolution is overkill unless you plan to crop or make very large prints; also 60MP will mercilessly show if your focus was slightly off. Many street shooters actually prefer the lower-res sensors (18-24MP) because the forgiving pixel pitch yields a certain film-esque quality and doesn’t overwhelm with detail. The Monochrom models (like M10 Monochrom or M11 Monochrom) are also beloved by black-and-white street photographers – shooting B&W only can be a creative liberation, and the higher dynamic range of a mono sensor suits harsh lighting and deep shadows in urban environments. For example, Alan Schaller, a prominent contemporary street photographer, uses a Leica Monochrom to create high-contrast black and white city scenes; he often speaks about how limiting yourself (to one camera, one lens, one film/mono look) can benefit your art .
Lenses for street: A 35mm lens is classic (we’ll dive into lenses in the next section). 28mm is great for tight quarters or getting more context. Many zone-focus with a 28 or 35 and get really close to subjects (think Alex Webb, who has used Leica Ms for his vibrant street photography). If you prefer a slightly tighter view, a 50mm can work for street too – Leica’s quiet shutter and RF focusing still let you capture fleeting expressions without a mirror slap startling people.
For Professional Photographers: Here we mean people who need cameras for assignments, be it weddings, reportage, editorial, etc., and are considering integrating a Leica M. The Leica M is a specialized tool, so pros who use it usually do so for specific reasons. For a documentary or travel photographer, a digital M (M10 or M11) can be a fantastic storytelling camera. It forces a slower approach which can yield more considered images. The image quality from an M11 is on par with top full-frame systems, so there’s no compromise there – you can deliver high-res files to clients or publications. Many wedding photographers like to have an M with a 35 or 50 alongside their DSLR kit; they might use it for silent candid shots during a ceremony (where the clack of a mirror would be intrusive) or for personal, intimate moments with the couple. The M10-P again is a favorite for its quietness – invaluable in a church or during vows. The new M11-P (if available) might add even more reporter-friendly features (Leica’s P models sometimes include a sapphire screen and maybe stealth enhancements).
For pros shooting film (fine art wedding shooters, fashion shooters wanting a certain look), a Leica M7 could actually make sense – its AE mode can handle fast-changing lighting on the fly, letting the photographer focus on framing and focus. Similarly, an MP or M6 could be used for editorial portrait work – some portrait photographers like the rapport they get when shooting an M, since there’s no big camera blocking their face and the subject can see the photographer’s eyes. This can put subjects at ease and yield more natural expressions.
One important consideration: manual focus. Pros who are used to autofocus may find the all-manual nature of the M a challenge in fast-paced jobs. So the recommendation for pros is: use Ms in scenarios that play to its strengths (travel, documentary, portraits, fine-art projects) and not when speed or telephoto reach is critical (sports, large events with unpredictable movement – though some photojournalists have covered entire events with Leicas, it requires skill and experience).
Another category is fine art photographers: Many gallery photographers love Leica Ms (often film Ms like M3/M6 or the Monochrom digitals) because of the superb lens rendering and the disciplined process. If you’re producing exhibition prints, any Leica M from M9 onwards can deliver the quality, and film Ms obviously can produce gorgeous darkroom prints when paired with fine lenses and film stock.
In terms of recommendation: A pro today who wants to start with Leica might consider the M10 as a reasonably priced entry that still is fully capable of professional results. The M11 would be the choice if maximum image quality or resolution is needed (e.g. landscape pros, environmental portraitists who might crop). Many professionals also invest in Leica Ms as a personal camera – something to reignite their love for photography outside of client work. For that, an M6 or M-A (for the film enthusiast) or an M10-R (for digital) could be that inspiring tool that reminds them why they fell in love with the craft, free from the pressures of jobs.
For Beginners and Newcomers to Leica: Here we mean someone relatively new to rangefinders or even photography in general, who is attracted by the Leica mystique but unsure where to start. First off, acknowledge that Leica M is a steep investment to make as a beginner. There’s an oft-repeated advice: if you’ve never shot manual focus or film, perhaps start with something less costly to see if you enjoy the process (e.g. a used Voigtländer Bessa R film rangefinder or a Fuji X100 digital to simulate some of the rangefinder-like constraints). But assuming one is set on Leica, a beginner should pick a model that is forgiving and not too costly (relatively speaking).
Film beginner: The Leica M6 is a strong candidate because the built-in meter helps you learn exposure – it’s like training wheels that aren’t really training wheels, since even experts use meters. You still have to set everything manually, but the arrows guide you. It really trains your eye to see light. Alternatively, an M7 might be even easier to get started with due to aperture-priority mode – you can concentrate on focus and composition while the camera handles exposure. However, some argue that could slow your learning of exposure fundamentals. The fully mechanical M3/M2 are also fantastic teachers, but you’d need an external light meter or a lot of Sunny 16 rule practice. A perhaps undermentioned but great beginner Leica is the Leica CL (1973) – a compact, meter-equipped rangefinder co-made by Minolta. It’s not as robust as an M, but it is a Leica M-mount camera, often under $1k, and has frame lines for 40/50/90mm. It could be a gateway to see if you like the rangefinder life. Just note the CL has a shorter rangefinder base, so focusing ultra-fast lenses is less precise.
Digital beginner: Many recommend the Leica M8 or M9 as a “budget” entry to Leica digital. Indeed, if you can find an M8 for ~$1500 and a Voigtländer 35mm f/2.5 lens for a few hundred, you’re getting the Leica experience for perhaps a quarter the cost of a new M11. The M8/M9’s limitations can actually be helpful for learning – they force you to work within constraints, and their simpler menus won’t overwhelm. One caveat: some M8s or M9s may need service (like the M9 sensor thing). A safer bet could be a used Leica M Typ 240 – those have come down in price and give you the modern CMOS benefits (live view if you want, decent ISO, etc.). The Typ 240 also has an optional EVF, which can be a crutch if you struggle with the rangefinder at first – you can compose through the EVF like a normal camera until you get comfortable.
Additionally, new Leica users should be aware of rangefinder focusing technique – it takes practice to get speedy and accurate. A beginner might start with a 35mm or 50mm lens at f/4 or f/5.6 to have some depth of field cushion while learning, rather than diving straight into focusing a 50mm f/1.4 wide open (which has razor-thin DOF). As you get better, you can challenge yourself with larger apertures.
On the film side, one piece of advice often given: have the camera serviced (CLA) if it’s an older one, so that you start with a properly calibrated tool. A misaligned rangefinder or inaccurate shutter can frustrate a learner with unpredictable results. A CLA (clean, lube, adjust) on an M might cost a few hundred but it’ll ensure the camera performs like new.
In summary for beginners: The M6 is arguably the sweet spot (meter + mechanical). If budget-constrained, a user-grade M2 or M4-2 plus a meter can be an affordable combo (the M4-2 and M4-P are often cheaper than M6 but have no built-in meter). On digital, an older M8/M9 or M240 will let you dip your toes in Leica waters without drowning your finances. And remember, once you learn on a Leica, many say it improves your photography overall – you become more deliberate and attentive. As one Leica user noted, the moment they started using a Leica (M9 in his case), they “realised [they] had a lot to learn – and it made [them] a better photographer” . Be prepared for a learning curve, but also a deeply satisfying journey.
For the Traveler / Everyday Carry: Some folks want a camera they can carry everywhere – durable, compact, and producing superb images of their daily life and travels. Leica M fits this scenario well. If you’re traveling to rugged places, a film M4 or M6 might ironically be safer – they don’t require chargers or worry about digital failures, just bring film rolls. The M6 is nice for travel thanks to the meter (especially if you’re shooting slide film or tricky light). For digital everyday use, an M10 or M11 is lovely, but consider batteries and backing up images on the go (the M11’s internal storage could help if you lose or fill cards). Many everyday shooters also love the Leica Q series, but that’s a fixed-lens camera (not an M). Within M, maybe pair an older digital M (cheaper, less worry if banged up) with a versatile lens. For example, an M240 with a 35mm Summicron can be your travel companion that yields stellar photos but if it gets a scratch, you won’t cry as much as if it were a brand new M11.

A note on combining systems: Leica M can also be a secondary system for someone primarily using DSLRs or mirrorless. For instance, a landscape photographer might normally shoot Nikon or Sony but carry an M6 with a 28mm to do some film personal work on trips. Or a sports photographer might use Canon for work but an M10 for street photography off the clock. The recommendation there is to treat the Leica as a different tool, not try to make it do what your other cameras do. Enjoy it for what it is – that might mean slowing down and switching mental gears when you pick up the M. Many pros find this refreshing.

To sum up user recommendations in a few key picks:

Best first film Leica: M6 Classic – meter, mechanical, holds value .
Best value film Leica: M4-P – usually cheaper, all mechanical, has 28–135 framelines, no meter (learn Sunny 16 or use external meter).
Best premium film Leica: MP (2003+) – essentially a perfected M6 with smoother wind and tougher finder , if money no issue for a new film camera.
Best first digital Leica: M240 (if on budget) or M10 (if you can spend more) – the M10 will feel more magical due to form factor , but the M240 is 90% of the experience for half the price.
For the ultimate enthusiast: M11 – if you want the cutting edge and price is no object, it’s a joy and will last you a decade easily, delivering whatever you ask of it.

Regardless of which you choose, you’ll be joining a passionate community. There’s a bit of a learning club aspect to Leica – through forums, meetups, and photo walks, you’ll find fellow M users eager to talk gear and share tips. Rangefinder photography can indeed be challenging at first, but stick with it. As one Reddit user encouraging a new Leica shooter said: using an M can “up your skills” – you become more intentional and thoughtful . And many find once they get used to the Leica way, there’s no going back; it just clicks (no pun intended) with their style of seeing the world.

Notable Lenses for the Leica M System (and Pairing Them with Bodies)

The Leica M mount has been blessed with some of the finest lenses ever made for 35mm photography. Leica’s lens design philosophy emphasizes optical excellence, classic rendering, and compact size – and many M users will tell you the lenses are half the reason to shoot Leica. In this section, we’ll highlight notable lens options, their characteristics, and how they pair with various M bodies (film or digital).

First, a quick primer on Leica lens naming:

Summicron – denotes f/2 maximum aperture (e.g. 50mm f/2 Summicron-M). These are Leica’s “classic” standard lenses, famed for sharpness and relatively smaller size. Often a sweet spot of performance vs. cost.
Summilux – denotes f/1.4 max aperture. These are the faster lenses, typically larger/heavier than Summicrons, giving shallower depth of field and better low-light capability.
Elmarit – denotes f/2.8 (commonly used for wide angles like 28mm Elmarit).
Elmar – f/3.5 or f/4 on older designs (e.g. 50mm f/2.8 Elmar is actually f/2.8 but uses the Elmar name historically).
Noctilux – ultra-fast lenses, f/1.2, f/1.0, or f/0.95. These are exotic, specialized glass for extreme low light or ultra shallow DOF.
APO – apochromatic correction; Leica reserves this for its most optically corrected designs (minimal chromatic aberration). APO lenses (like 50mm APO-Summicron) are often phenomenally sharp and also phenomenally expensive.

Now, on to notable lenses by focal length category:

35mm Lenses – The Heart of M Photography: If one lens defines Leica, it might be the 35mm. The Summicron-M 35mm f/2 is often cited as Leica’s best-selling lens of all time . It hits a goldilocks point: moderately fast, very sharp, and incredibly compact – on an M body it makes a jacket-pocketable combo. The current 35mm Summicron ASPH delivers excellent sharpness wide open, minimal vignetting, and beautiful color . It’s also forgiving for new rangefinder users, as depth of field at f/2 and the 35mm focal length cover minor focus errors better than a 50mm would . Pairing: Works brilliantly on all Ms. On a film M3, though, you’d need “goggles” or an external finder since M3 has no 35 frame. Best paired with any M that has 35 framelines (M2 onward, or even M3 with the accessory). On digital, the 35 Cron ASPH can resolve enough detail even for the 60MP M11, although corner sharpness wide open might not match the newer APO lenses – but that’s pixel-peeping territory. It balances well on older and newer bodies alike.
Then there’s the Summilux-M 35mm f/1.4. Photographers in the 1960s used to say if you shoot low-light reportage, you carry a 35 Summilux on your Leica – it was the photojournalist’s go-to . The modern version is the 35mm Summilux ASPH FLE (floating element) introduced ~2010. It improved close-focus performance (where older 35 Luxes were a bit soft) . Wide open at f/1.4, it gives that classic Leica 3D “pop” and subject separation. It’s slightly larger/heavier than the Cron, but still small compared to SLR 35/1.4 lenses. Use-case: street at night, environmental portraits with context but blurred background, etc. Pairing: On an M10 or M11, the 35 Lux ASPH shines, giving you a lot of creative control in low light. On film, it’s wonderful for available darkness photography – e.g., handheld shots in a dim café on Tri-X film. Historically, many iconic low-light 35mm shots were made with early 35 Summiluxes. On an M3, again, you’d need the goggles version that was made specifically for M3. Most other bodies show 35mm framelines, so it’s fine.
A special mention: the 35mm Summilux pre-ASPH (the older version from 1960s-1980s) is prized for its unique “Leica glow” wide open – lower contrast, almost dream-like soft edges and sharp center. Some artists prefer that for a vintage look. It pairs great with film Ms for an old-school rendering.
Also notable is the APO-Summicron-M 35mm f/2 (released 2021). This is Leica’s attempt at the ultimate 35mm lens – apochromatic correction, brutally sharp across frame, meant to complement the M10-R and M11 high-res sensors. It’s extremely expensive (~$8k). On an M11, it will deliver corner-to-corner sharpness at 60MP that is breathtaking. However, some find its rendering almost too clinical – so if you want character, a non-APO lens might be preferred.
50mm Lenses – The Classic “Normal”: The Summicron-M 50mm f/2 is the reference lens for Leica. Leica themselves often say the 50 Cron is the benchmark to which others are compared . It’s extremely sharp wide open, reaching optimal by f/5.6 . It’s also tiny (especially the older versions – the current one is a bit longer due to built-in hood). Many legendary photographers like H.C. Bresson used 50mm almost exclusively – his choice was a 50mm f/2 rigid Summicron. On any Leica body, the 50 Cron balances nicely. It’s a great starter lens because it’s one of the more affordable Leica lenses (relatively) and yet has no optical compromises. On film Ms, 50mm is the focal length the rangefinder was originally designed around (M3 frames are 50mm default), so it’s very comfortable. On digital, even up to M11, the latest 50 Cron (especially the 2019 APO version) is stellar.
Speaking of APO, the APO-Summicron-M 50mm f/2 ASPH is considered one of Leica’s (and the world’s) best 50mm lenses optically. It’s said that Leica “built it just to prove it could be done” – to push the envelope of image quality . Wide open it’s already near perfect, and by f/5.6 it’s almost diffraction-limited. If you have an M11 and want to squeeze every pixel of detail and micro-contrast, the 50 APO is the champion – “zoom in and be prepared to be amazed”, as one reviewer put it . It’s very expensive (~$8k) and there’s a waitlist often. For most, the non-APO 50 Cron is 90% as good in real-world use, unless you do big prints and test charts.
The Summilux-M 50mm f/1.4 ASPH is often called the desert island lens by Leica fans . It’s a beloved piece of kit because it offers the speed of f/1.4, beautiful bokeh and sharpness, but at a size/weight that’s still quite manageable (it’s heavier than a 50 Cron, but not huge). Leica explicitly states the 50 Lux is designed to be shot wide open – unlike some fast lenses that are soft at f/1.4, this one is already excellent at f/1.4, and by f/2 it’s tack sharp like the Cron . Many users say at f/1.4 it has a special look – high center sharpness, melting-away background. By f/2-f/2.8, it’s nearly indistinguishable from the Summicron in sharpness . It truly can be your one lens to do it all: low light, portraits (with nice blur), general shooting stopped down. Pairing: On a rangefinder, focusing a 50/1.4 takes a little practice due to shallow DOF, but the Leica RF is up to it. On an M3, the high mag finder makes focusing it even easier (and an M3 user might prefer the Lux to the Noctilux for practicality). On digital, the 50 Lux ASPH can hold its own even on 60MP (though the APO will edge it out in extreme corners or at f/2, the Lux has more focus shift etc., but that’s hair-splitting). As an all-rounder on an M10 or M11, you cannot go wrong with the 50 Summilux – many Leica photographers echo the sentiment “if I could only have one lens, it’s the 50 Lux.”
Now, the exotic: Noctilux-M 50mm f/0.95 (current version, introduced 2008; there was also a classic f/1.0 and a rare f/1.2 from the 60s). The Noctilux is a lens like no other – f/0.95 is insanely bright, and it creates an image look that is instantly recognizable: subject isolated in a sea of blur, with maybe a dreamy halo and swirly bokeh. It’s **heavy (700g+), large, and very expensive ($12k)**, but for some it’s the holy grail. At f/0.95 the depth of field is razor thin; focusing it with the rangefinder is challenging. Many Noctilux shooters will use the EVF or live view zoom to critically focus, especially on digital Ms . Using a Visoflex EVF with the Noctilux can dramatically increase your keeper rate . On film, focusing a Noctilux is easier on an M3 or an M6 0.85x (the higher mag finders). The Noctilux is often used for creative portraits or night scenes where you want that extra stop over a Summilux. Stopped to f/1.4 or f/2, modern Noctilux is actually quite sharp (and many are hard-pressed to tell the difference from a Summicron once stopped down) . But no one buys a Noct to shoot at f/2 – it’s all about that f/0.95 look. Pair it with a camera that has focusing aids (M10 with EVF, or an M11 in live view) for best results. It pairs physically well with the larger digital bodies (M240, M10) more than a tiny film body, simply for balance. If you do use it on a film body, maybe consider adding a grip.
There’s also the older Noctilux 50mm f/1.0 (1976–2008) – beloved for a somewhat softer, more glow-y wide-open character and slightly less contrast than the 0.95. It’s a bit smaller than the 0.95 and cheaper on used market (~$5-6k). And the rare 50mm f/1.2 Noctilux from 1966 – a collector’s piece (north of $30k typically). Leica recently re-issued the 50 f/1.2 Noct as a limited classic series, which sold for ~$8k new – aimed at collectors and those craving that vintage “dream lens” look.
28mm and Wider: Leica rangefinders typically have framelines down to 28mm (on 0.72x finders, 28mm is the widest frameline and is at the very edge of the view – some glasses wearers can’t see it well). For wider than 28, you generally need an external viewfinder or live view/EVF on digital. 28mm is a fantastic focal length on Leica for street, documentary, landscapes. The Elmarit-M 28mm f/2.8 ASPH is a gem – it’s very small, sharp, and reasonably priced by Leica standards. Mike Johnston of TOP dubbed an earlier version “the Staff of Life” because it was such a reliable, unassuming performer. According to one source, many smartphone photographers who transition to Leica like the 28mm Elmarit because 28mm was the field-of-view they grew up with on phone cameras . It’s great for zone focus – e.g. at f/8, just set and pretty much everything 2m to infinity is in focus . Leica also makes a 28mm Summicron f/2 ASPH – which gives more light gathering and shallower DOF if needed. It’s bigger/heavier than the Elmarit. Some prefer the f/2 for available light shooting (say, indoor events) or if they simply favor 28mm as their main lens and want that extra stop. And of course, they also have a 28mm Summilux f/1.4 now – a very high-end lens for when you absolutely need low-light at 28mm (that one is large and super expensive, mainly for specialists or those who shoot 28mm as their primary lens at night).
On bodies: if using film Ms with 0.72 finder, 28mm frame is okay but a bit squinty. Some people get the 0.58 mag versions of M6/M7/MP specifically to better see the 28mm framelines (0.58 shows them more easily). On digital Ms which are 0.68-0.73 mag, 28 is similarly at the border. The M10 and M11 finders improved eye relief to help with 28mm , which is great. If you have trouble seeing 28mm frames, you can always pop on an external finder – Leica makes brightline finders (very pretty, but pricey), and Voigtländer makes more affordable plastic finders.
For 21mm and ultra-wide: Leica’s 21mm Super-Elmar-M f/3.4 ASPH is a stellar ultrawide lens – super sharp to the edges, minimal distortion . Its only limitation is f/3.4, so not much bokeh or low-light use, but typically if you need an ultrawide you’re shooting stopped down for depth anyway. The older 21mm f/1.4 Summilux is a beast – huge, heavy, and not as razor sharp, but f/1.4 at 21mm is insane for night photography (Milky Way shots, etc.). The review snippet earlier suggests the f/1.4’s image quality didn’t “overwhelm” in comparison to the 3.4, aside from speed . For framing 21mm, most M film bodies don’t have 21 frames (some have 28 as widest), so you’d use an external finder. The digital Ms with live view (M240 onward) allow you to compose 21mm via the LCD/EVF, which is a big help – or use Leica’s clip-on EVF on the M10/M11.
24mm & 25mm: Leica had a 24mm Elmarit and 24mm Summilux in the past. 24 doesn’t have frameline either; you treat it like 21 in terms of viewfinding. The 24 Lux is similar to the 21 Lux in being very large and heavy, more of a specialty lens (now discontinued). Voigtländer makes some interesting wides like 25mm f/4 (with rangefinder coupling even though no built-in lines, they supply external finders).
Pairing note: Very wide lenses on digital Ms (M9/M240 etc.) sometimes show color shift or vignetting due to the angle of light hitting the sensor (especially older wide-angle designs). Leica addressed some of this with in-camera lens coding corrections and by designing modern wides with rear optical elements to better suit digital. If you shoot an older 21mm lens on a digital M, you might see magenta color cast in corners – which can be corrected in software (CornerFix etc.) or mitigated by coding it as a newer lens in the camera menu. On film, of course, all wides work without such issues.
75mm & 90mm – Telephoto in Rangefinder Terms: While rangefinders aren’t ideal beyond 135mm, the 75 and 90 serve for portraits and tighter shots. The 75mm Summicron-M f/2 ASPH is one of Leica’s sharpest lenses – it often gets overlooked, but those who use it are blown away. One user recounted the first time reviewing images from 75 Cron, they just said “Wow” at the sharpness . It has a very modern rendering, almost APO-like (and indeed its color/contrast is close to the 50 APO) . It’s fantastic for head-and-shoulders portraits or detail shots. It’s also not too large. However, focusing 75mm at f/2 on a 0.72 finder can be challenging – the RF baselength is borderline for that precision. Many photographers prefer using 75mm on an 0.85 mag finder (like certain M6TTL, MP variants) or using live view EVF on digital to be sure of focus on the eye. If you nail focus, the results are clinically sharp and beautiful.
Leica also has a 75mm Noctilux f/1.25 released in 2018 – an absolute monster of a lens (over a kilogram!). It’s basically for those who wanted medium-format-like shallow DOF on an M. At f/1.25 the DOF is hair-thin. It’s more of a showcase lens – incredible for artistic portraits, but practically requires EVF focusing and maybe a tripod for best use. Not common due to price and size.
The 90mm Summicron-M f/2 APO is Leica’s classic portrait tele. The latest APO version (1998 onwards) is extremely sharp and corrected – a bit large and heavy, but arguably one of the best 90mm lenses ever. For portrait shooters who like tight headshots, it’s wonderful – just remember at close focus and f/2, hitting accurate focus via RF is tough (some prefer to focus using the RF then slightly stop down to 2.8 for a tad more DOF). Leica also offers a 90mm Summarit f/2.4 (a more affordable line, recently discontinued) and historically had an 90mm f/2.8 Elmarit which is much smaller than the Summicron and very sharp; that’s a great travel tele lens. The 90mm f/4 “Macro-Elmar” is a unique collapsible design that even allows a macro attachment for close focus – interesting for those wanting some macro ability on an M (though it’s not 1:1 macro or anything, just closer than usual).
Pairing: For 75/90 lenses, consider an M body with 0.85× finder if you’re using film (Leica made a limited MP 0.85, and some M6TTL). On an 0.72 finder, the 90mm frameline is quite small, and any RF misalignment will show up. Some photographers actually send their cameras for high-mag viewfinder conversion or use magnifying eyepiece attachments to better use 90mm. On digital Ms with EVF, that’s the easiest – treat it like a mini mirrorless and focus through the EVF for those lenses.
135mm: Leica did make 135mm lenses (like the 135mm f/4 Tele-Elmar and later 135mm f/3.4 APO Telyt). 135mm has a tiny frameline on 0.72 finders – basically, Leica assumed if you needed that, you’re desperate or using an EVF on modern ones. Many people don’t go beyond 90mm on Ms because of this. If you do, the 135 APO is actually optically phenomenal (and works decently with EVF focus on an M240/M10). But at that point, some might ask why not use an SLR or SL system.
Vintage/Character Lenses vs Modern Lenses: It’s worth noting that pairing different era lenses with certain bodies yields different aesthetics. Modern Leica lenses (post-1990, ASPH designs) are generally very sharp, contrasty, and corrected. On a high-res digital like M11, they produce images that can look like medium format – technically impeccable. Vintage Leica lenses (1950s-1970s) often have more optical flaws that can be artistically appealing: e.g., the 50mm f/1.5 Summarit (1950s) has a glow and swirly bokeh wide open; the 35mm f/2 Summicron “IV” (1980s pre-ASPH) is known for its gentle contrast and pleasing focus fall-off, which pairs beautifully with film for a classic look. Many photographers intentionally use older lenses on modern digital Ms to get a more filmic or unique rendering – since modern sensors can otherwise be almost too clinical. For instance, putting a 1960s Summicron 50 Dual-Range on an M10 might give you softer corners and lower contrast, resulting in portraits with a subtle, flattering look straight out of camera (versus a biting sharp APO lens that shows every skin pore).
Conversely, using a modern lens on film (say, a 35mm ASPH on an M6) often yields extremely crisp negatives – some love that, some find it too “modern” for film. There’s a lot of mix-and-match creativity possible: The Leica M system’s backwards compatibility means you can mount, for example, a 75mm f/1.5 Voigtländer made in 2020 on a Leica M3 from 1955, or a 1958 rigid Summicron on a brand new M11 – and both will work. This is a huge advantage of the system: you can curate your own combination of body and lens to achieve the look you want.
Third-Party M-Mount Lenses: While Leica’s own lenses are the stars, there are excellent and more affordable lenses from makers like Voigtländer (Cosina) and Carl Zeiss (Zeiss ZM series). For example, Voigtländer’s 35mm f/1.4 and f/2 Ultron, 50mm f/1.5 Nokton, 21mm f/1.8 Ultron, etc., are highly regarded and often 1/3rd the price of Leica equivalents. Zeiss’s 35mm f/2 Biogon and 50mm f/2 Planar are very sharp and have their own rendering – some shooters even prefer the Zeiss “pop” and slightly cooler color cast. These third-party lenses can be fantastic options especially for beginners or those on a budget – they let you explore the system more economically. Notably, many Voigtländer lenses push the envelope in speed (they have a 50mm f/1.0 now, a 29mm f/0.8, etc.) giving creative options beyond Leica’s own lineup. They generally pair fine with Leica bodies (you might just input a custom lens profile on digital Ms if you want in-camera correction). Using these doesn’t diminish the Leica experience; some longtime Leica shooters mix in Voigtländers for fun or specific looks.

In terms of lens-body pairing considerations beyond viewfinder framelines:

High resolution digital (M10-R, M11) will reveal any lens’s flaws. If you crave corner-to-corner sharpness at 60MP, stick to Leica’s APO and ASPH lenses from 28-75mm or stop down older ones. If you want to see some vintage quirks, by all means mount a 1930s uncoated Elmar or 1960s Summilux on the M11 – you’ll get a very distinct image that no modern lens can replicate (maybe soft corners, flare, etc., which could be beautiful in the right context).
Rangefinder calibration: Fast lenses (f/1.4 and faster) require the RF mechanism to be perfectly calibrated in your camera. Sometimes users find their body focuses fine with f/2 lenses but is slightly off at f/1.4 or f/0.95. Calibration can be adjusted by a technician. Some digital Ms allow minor focus offset adjustments in software (focus shift compensation), but generally ensure your camera and lens are in tune. When pairing an ultra-fast lens with an older body, it may be worth a CLA to calibrate them together.
Lens Handling: Some lenses have unique handling – e.g., older 50mm lenses often have a “tab” for focusing (many people love the focus tab; it allows quick focus by feel). Modern 35 Summilux doesn’t have a tab, but the 35 Summicron does. If you prefer that, pick accordingly. Collapsible lenses (like some 50 Elmars, 90 Macro-Elmar) shouldn’t be collapsed into certain digital bodies (can hit the sensor). Check compatibility – Leica usually notes which collapsibles are safe for digital.

To highlight a few classic pairings:

M3 + 50mm Summicron rigid: The quintessential 1950s kit. Gorgeous for black and white film; the Summicron rigid’s rendering is legendary (sharp center, soft corners wide open, very organic look).
M6 + 35mm Summicron IV (“Bokeh King”): Many adore the 4th version pre-ASPH 35 Cron for its beautiful bokeh. On an M6, it makes a compact everyday film shooter that can handle most situations.
MP (0.58 finder) + 28mm Elmarit: Great for travel street photography – 0.58 mag helps see the 28 frame easily, Elmarit keeps it small, and you can rely on depth of field for fast shooting.
M10 + 50mm Summilux ASPH: A modern classic combo. This one camera/one lens setup can yield an incredibly wide range of images, from low-light candids to sharp street scenes to portraits.
M11 + 35mm APO-Summicron: The bleeding edge of Leica tech – maximum detail, essentially a mini-medium-format quality in a compact package. Perfect for landscape or archive-level documentation where you want insane clarity.
M Monochrom (any generation) + 50mm Noctilux: For the ultimate monochrome mood machine. The Mono sensor sees about 1 stop better light (no Bayer filter), combined with f/0.95 – you can basically see in the dark. The tonality of Monochrom + Noctilux wide open gives almost a large format feel in 35mm street scenes or portraits.
Old lens on new body example: M10-R + 90mm Thambar f/2.2. The Thambar is a 1930s soft-focus portrait lens that Leica recently reissued. On a high-res digital, you get the fascinating glow and soft dreamy look, but can precisely control/preview it. This mix of old optics and new tech can produce art-like results straight out of camera.

One final aspect to note about Leica lenses: They hold value just like the bodies, sometimes even appreciate. Certain rarities (like out-of-production limited lenses or early serial numbers) are hot in the collectors’ market. But even regular lenses tend to sell for close to what you paid (especially if bought used). This means assembling a lens kit is less financially risky long-term than in other systems – you can always swap or resell with minimal loss. It encourages trying out different focal lengths and vintages to find what resonates with your style.

In conclusion, the M system’s lens library is a playground for the discerning photographer. Whether you want the razor-sharp perfection of a 50 APO Summicron on an M11 for a commercial shoot, or the romantic flare of a 50 Summarit on an M3 for personal art, there is a combination that delivers. The synergy of Leica lenses and M bodies is often cited as the reason images have that ineffable “Leica look” – it’s the micro-contrast, the way focus transitions to out-of-focus, the color rendition. Even notable non-Leica photographers have used Leica lenses adapted to other cameras to get that look (Stanley Kubrick famously used a modified f/0.7 lens by Zeiss/Leica on a movie camera for candlelight scenes). But on the native M, you’re using these lenses as intended, rangefinder-coupled and all.

As an energetic photography community might say: Choosing a Leica M lens isn’t just picking a focal length; it’s picking a character for your imagery. And part of the fun is, you can always change that character by switching lenses – often more impactfully than switching camera bodies. So, invest in glass wisely. Many would advise a new M shooter: start with one lens (35 or 50 Summicron perhaps), master it, then gradually add lenses that serve a purpose (maybe a wider one, then a portrait one). Over time, you’ll learn why Leica lenses are fabled – from the “crisp yet creamy” rendering of a Summilux to the “paint-like blur” of a Noctilux, they truly are the paintbrushes for your photographic canvas.

Perspectives from Photographers and the Community

Leica M cameras have inspired a devoted following and countless opinions – from legendary photographers’ praise to forum debates by enthusiasts. Here we’ll share some insights and sentiments circulating in the community:

The Legend’s Endorsement: Perhaps the most iconic testimonial is from Henri Cartier-Bresson, co-founder of Magnum Photos, who was synonymous with Leica. He famously said “I had just discovered the Leica. It became the extension of my eye, and I have never been separated from it since I found it.” . This encapsulates how intimately a photographer can bond with the M. For HCB, the Leica was not just a camera, but part of his vision. He also described taking a photograph as an alignment of head, eye, and heart – a philosophy many Leica users embrace, given the camera demands that mindful alignment . Such quotes are frequently cited in Leica circles as almost guiding mantras.
Magnum Photographers and Others: Many greats in documentary and street photography favored the M: Robert Capa took a Leica ashore on D-Day (though famously said “if your pictures aren’t good enough, you’re not close enough” – something a small Leica helped with). Garry Winogrand roamed New York with his Leica M4 snapping thousands of moments. Diane Arbus used a Leica at times for its stealth. Sebastião Salgado used Leicas for some projects before moving to medium format. The consensus among these masters was that the camera’s unobtrusiveness and reliability allowed them to concentrate on the story.
Modern Ambassadors: In contemporary times, Leica has ambassadors like Alan Schaller, Alex Webb, Bruce Gilden, Ralph Gibson, William Eggleston (used Leica for color street early on), and many others. Alan Schaller, for instance, praises limiting gear – he often carries an M10 Monochrom with one lens to focus on composition and contrast. He suggests that imposing constraints (like using only an M and one focal length) can actually boost creativity . Another ambassador, Craig Semetko, shoots street with Leicas and often speaks about the joy of anticipating a shot rather than letting a motor drive rip – an ethos Leicas encourage.
Community Forums: Places like the Leica Forum, RangefinderForum, and Reddit’s r/Leica are rife with both adoration and occasional skepticism. One amusing Rangefinderforum thread shares a quip: “Leica, schmeica. The camera doesn’t make a bit of difference. All of them can record what you are seeing.” – emphasizing that it’s the photographer, not the gear. And there’s truth in that; while the Leica is great, the community also acknowledges it’s not a magic wand. A skilled photographer can make great images with any camera. However, many in the forums will retort that the Leica makes you WANT to go out and create those images, because it’s so enjoyable to use. There’s a lot of shared experience of how an M has reignited someone’s passion for photography after feeling jaded with big digital systems.
Criticisms and Defenses: Of course, not everyone sings unqualified praise. Some common criticisms you’ll hear (even from Leica lovers) include: “Leicas are overpriced luxury items,” “Using an M is impractical in the autofocus age,” “It’s all hype/nostalgia.” In forums, Leica users often respond that while yes, the cost is high, the cameras and lenses are built to last decades and retain value, which softens the blow. As for practicality, one user on DPReview wrote, “Though I love my Leica M system there are some conveniences that [it lacks]…” – and indeed, if you need fast AF or video or macro, Leica M isn’t the convenient choice. But those who stick with Leica do so because the experience and output align with their priorities. There’s a refrain: “A Leica might not make you a better photographer, but it makes you want to become one.” Owning such a historically resonant tool often inspires one to live up to it.
Rangefinder Zeal: Within the Leica community, there’s a subset of rangefinder purists. They extol the “zen” of manual focus and detest when someone compares an M to an autofocus camera. A fun anecdote: A forum member recounted being at a workshop and an attendee asked, “Why use a Leica when modern cameras are easier?” The instructor simply handed the person his M and said “Shoot with it for a day.” By end of day, the skeptic was smiling, if not fully converted – they “finally understood” the tactile joy and focus it brought. Stories like that circulate as quasi-mythology among Leica fans.
The Hater Turned Lover: There are also stories of people who once dismissed Leica as a rich man’s jewelry, then tried one and begrudgingly fell in love. On r/Leica you’ll find posts like “I thought it was all hype, but after a month with the M (insert model), I get it.” They talk about how they slow down, how they miss fewer moments now because they are more present, how the constraint of one focal length made them more creative. One user said, “I’ve shot Nikon for 20 years, but in 2 weeks the Leica taught me more about seeing than the last 5 years combined.” Perhaps hyperbolic, but not an uncommon sentiment among new acolytes.
Motivational Tone in the Community: If you ever drop into a Leica User Group meetup or a photowalk, you’ll sense the enthusiasm. There’s often a generational mix – older folks who maybe used film Leicas in the ’60s and ’70s, and young new shooters who saved up or inherited an M. The veterans share stories of how in the film days an M was a trusty companion in rough situations (one might say, “This dent here, got it in ’82 during a protest – camera never missed a beat!”). The younger crowd might speak to how using a fully manual camera is almost therapeutic compared to digital overload. The tone is usually passionate, a bit proud, but also welcoming. They might tease each other – “Oh you have the new M11, nice, but I’ll keep my M4 – it has soul!” – but ultimately they bond over their shared love of the craft.
Leica as Inspiration: Many owners report that owning a Leica motivates them to shoot more. There’s a psychological aspect: when you’ve invested in a high-quality instrument, you feel driven to justify it by creating work. One could call it positive pressure. And the camera’s beauty and feel “beckon you to pick it up”. It’s common to read something like, “Ever since I got the M10, I go on photo walks every weekend, it’s my meditation.” Leica even runs photograper interviews where they ask “how do you feel when using it?” and often the answers revolve around words like “connected, focused, in the zone.”
The Online Leica Mythos: The internet also has its share of Leica memes. For instance: “Leica shooters only take pictures of cats, coffee, and their own cameras.” This pokes fun at folks who buy a Leica, then just take shallow depth-of-field shots of their latte or the camera itself for Instagram. It’s a jab at those who might be more in love with owning the camera than making art. The community, self-aware, sometimes responds by actually going out and shooting serious projects to prove they’re not just gear heads. Another meme: “Welcome to the darkroom side” – a play on how once you go Leica (especially film Leica), you might end up developing film and printing in a darkroom because you’ve gone fully analog-hipster. Leica users often have a sense of humor about their passion – they know to outsiders it can seem a bit cultish.
Influence on Others: It’s notable that even outside the Leica community, the M cameras earn respect. Many photographers who primarily use other systems still acknowledge the Leica M’s influence on photographic culture. In a DigitalCameraWorld article compiling famous photo quotes, one is from Elliott Erwitt: “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place…” – not Leica-specific, but Erwitt shot Leica and that philosophy aligns with the rangefinder ethos of always observing through that clear viewfinder window. The presence of Leica in such discussions keeps the brand’s aura alive beyond just its users.

In essence, the opinions around Leica M cameras form a rich tapestry. There’s reverence (Cartier-Bresson’s extension of his eye ), practical appreciation (professionals acknowledging the discreet utility), communal passion (users egging each other on in creativity), and even some playful cynicism (the jokes and memes). But the common thread is emotion. Very few Leica M users are indifferent about their camera – it either inspires love or, for some skeptics, frustration (until they convert!).

The community often rallies around the idea that the Leica M is more than a camera – it’s a way of life in photography. As one blog author concluded after a year with an M9: “Leica is not just a brand, it is a life philosophy – and it is no cheap philosophy. … If their cameras work, they are really great cameras… But if they break, your affordable 2nd hand Leica could easily become a total loss.” . He ended with the tongue-in-cheek quote we mentioned earlier about Leica owners photographing their cameras more than with them , highlighting that there’s a certain self-aware fanaticism involved. Yet, that “philosophy” notion rings true – using an M teaches patience, respect for craft, and an appreciation of doing more with less, which indeed can translate to one’s outlook on photography as an art.

To close on a motivational note fitting the passionate audience: Owning and using a Leica M can feel like joining a lineage of creators. When you bring a Leica to your eye, you’re standing on the shoulders of giants who saw through similar framelines. The community will encourage you to live up to that legacy, not by mimicking others, but by finding your own voice with this instrument. They often say “Leica is about the journey, not just the results.” So if you take up a Leica M, you’re in for a journey of slowing down, seeing more, and shooting from the heart – and you’ll find countless fellow travelers, from masters to newbies, cheering you on. The camera can be a catalyst, but as always “the photographer’s eye is what truly matters.” The Leica just helps that eye to focus, literally and figuratively, on the beauty in the everyday world .

Sources:

Leica M camera chronology and model info
LeicaRumors (Tamarkin) timeline of Leica M film cameras
Leica Camera AG – Official descriptions (Leica M11)
Summimarket Leica market analysis (prices and trends, May 2025)
Summimarket collector’s guide (film camera value surge, March 2025)
Photrio forum discussion on new M6 impact on used prices
Thorsten Overgaard on Leica M model chronology (pricing anecdote)
Jeff Mellody’s Leica lens guide (10 Best M Lenses)
Steve Huff / Ashwin Rao Leica M10 review (handling like film, VF improvements)
Leica Blog (Martine Franck on Cartier-Bresson quote)

Deep Dive into the Leica M Rangefinder Camera Series

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