Ernst Leitz Wetzlar Company. Microscope Serial Numbers. Serial Number Year made.

Leica M 10 Digital Rangefinder Camera - Page 1 Index of Thorsten von Overgaard's user review pages covering Leica M9, Leica M9-P, M-E, Leica M10, Leica M 240, Leica M-D 262, Leica M Monochrom, M 246 as well as Leica Q and Leica SL: Leica M9 Leica M10 Leica M 240 Leica M-D 262 Leica Monochrom 29 C 29 D Leica Q Leica TL2: Leica SL 2 4 Leica M10: 'The Force Awakens' By: Thorsten Overgaard. June 18, 2017. Updated September 13, 2017. When the Leica M10 was released, I was in a galaxy far, far away, a long time ago, working on some really fine images. I got a silver Leica M10, and then I took my sweet time to work with it before I decided what to think about it. Now, five months after the release of the Leica M10, I'm ready.

Sunrise in Wetzlar, Germany. © 2017 Thorsten Overgaard. Conclusion Let's start with the bottom line: The Leica M10 is worth having. That is the short and sweet conclusion you might have come here to find out about. The Leica M10 is the most relevant digital Leica M of them all. My in silver with the. With one of the ventilated shades I have designed ( ) and the strap made for Leica M10.

I wasn't overly impressed and enthusiastic to begin with, but none of that takes away from the fact that you'll love the M10 after a few months. I don't remember another camera that grew on me like that. Just slides in under your skin for no apparent reason Rome. © 2017 Thorsten Overgaard. Only when we consider that there are other Leica M models that are nice to have, and that the Leica M10 is still extremely hard to find in stock in any camera store, does the decision-making process become a little more cluttered. Which to get? I will get into that as we move on, but as a single statement, you may take this with you: Yes, the Leica M10 is worth having.

Sunset over Greenpoint Avenue, Long Island, New York. © 2017 Thorsten Overgaard. New from Thorsten Overgaard: 'Leica M10 Video Masterclass' Enjoy this easy to use video class with Thorsten Overgaard going over the Leica M10. More than one hour one-on-one with Thorsten on the camera, the menu, shooting outside, focusing and more. For computer, iPad and smartphone. Thorsten Overgaard Leica M10 Masterclass Video Course Price $398.00.

Save $100.00 INTRO PRICE only $298.00 USE CODE: INTRO on checkout 100% satisfaction or 100% return. #1801-0917 Order Now. Instant delivery! The light sword of the street photographer If you know your Star Wars, you know that the “Force” which the Jedi uses, is an energy field created by all living things. The Jedi senses and uses the Force, and his tool is the light sword.

It has everything to do with photography. A camera is very simple, or at least it should be. It's all about light, and apart from focusing, light is all you have to know about photography. The light and the dark side. 'Sleeping Beauty'. Amsterdam May 2017. © 2017 Thorsten Overgaard.

Three Small Words The three small words that means the most in photography It's all about light and there are just 3 controls for you to take control of so the picture looks right. Shutter The razor-thin metal curtain that separates the dark and the light is named after the shutters in front of windows that keep the sun out. Shutter speed is how long the curtain is up and the sensor is exposed to the light that goes through the lens.

The rest of the time, the curtain is down and the sensor rests in the darkness. In the beginning of photography, the photographer's hand in front of the lens acted as the shutter to keep it all in the darkness.

Aperture The aperture is a Latin word meaning “to open”. If you change the aperture ring, the ring inside the lens (made of metal blades) narrows the lens opening from wide open to small. When the aperture is wide open at 100% the maximum amount of light passes, and when “stopped down” the amount of light becomes as small as 2%. You can see the aperture blades inside the lens on the photo above. ISO ISO is a strange word because it is short for International Standard Organization.

It's simply a measurement for how sensitive to light, something is. It goes from 100% to 50,000% (500 times more sensitive) in the Leica M10. In some cameras, it goes down to 50% sensitivity. See more in my “ ”.

Not impressed, yet in love I'm a user and not a reviewer. I write about how I get the cameras and lenses I own to work, hoping it might help others. That also implies that I don't use anything just to test or review. I don't have the interest, nor the time, to play around with things if they don't work for me. I write for expert users and novices at the same time. You might have a Leica already, or you are just trying to find out if you are getting one. That's you I write for, as well as for the others.

Some of the film and digital Leica cameras I've been using.,,,,. I've had a lot of Leica's, and I've used all of them down to the brass and through multiple shutters and other random spare parts. It's lovely, but it also means I don't feel the same virgin joy of accomplishment getting the Leica M10 as I did when I got my first Leica. I don't have my Leica on the night table, so I can wake up by the first stroke of sunshine and realize how lucky I am to have a Leica. I always live in the hope that the next Leica might make me feel a childish enthusiasm.

For some reason I had set myself up this time, to hope that Leica Camera AG would deploy unseen futuristic technologies in the Leica M10 that would be a game-changer. When they didn't, I wasn't overly impressed and enthusiastic. To begin with. I didn't understand why they hadn't applied any futuristic technologies, and I still don't.

The and the, with all the refined new technology they offered, brought me hope that the Leica M10 would redefine the Leica M. Back 100 years ago the invention of the first Leica M was a quite futuristic development, in fact so futuristic it's still the same concept.

Old school with some space technology applied. That was my hope. Gregory Pickrell. © 2017 Thorsten Overgaard.

None of what the Leica M10 deploys is from the future. None of it is from another galaxy. Not even from Japan. It's all from the well-proven 100 year-long timeline of the mechanical Leica M, with the next predictable step of technology added to it. Not even five years ahead of technology, it's simply just the technology you could expect to be in the next Leica M. None of it takes away from the fact that I've fallen in love with the M10 after a few months. I don't remember another camera that grew on me like that. Just slides in under your skin for no apparent reason My video introduction of the Leica M10, part 1 A reborn Leica Virgin I'll admit that back in January 2017, I was so unimpressed with the Leica M10 that even though they had two cameras I could get, I decided to get only one.

And then I went somewhere I usually never go: I decided to get hold of a Fuji X-Pro 2, a Sony A7II and a Panasonic GH5 to take the temperature of current camera technology and measure my own stand on cameras. Long story short (I'll bore you with the details in other articles and videos over the next months), I became a reborn Leica M fan. I realized I hadn't used Leica exclusively for the last 20 years just because I'm stubborn and hadn't looked at other cameras. Instead, I realized the Leica M is the exact answer to what I want in a camera. Other cameras might have many great things, but one thing is true for them all: “It's not a Leica”. That's not all, but as I said, more on that in a not so distant future.

On Mar 3, 2017 at 3:18pm PST Cool Old School Style I usually dream of the classic silver Leica M; but I always end up with a black Leica M. In some cases, one of each after a while. With the Leica M10 I had the choice between black and silver, but I was not in doubt: This camera is so classic looking it had to be silver! What I use most of the time: My in silver, with the The discussion is always if a black camera looks more professional and more discrete.

Leica users are known for putting black tape over the red Leica dot to make the camea even more discrete. Considering I will wear hats, orange scarfs and glittery shoes and can get away with taking photographs unnoticed, I'm not a big believer that a camera must be discrete. But I do like black painted cameras that get brassed after a while.

My well-brassed. © 2012-2017 Thorsten Overgaard. I got the silver one, and while people I photograph still don't notice me or the camera (which is the intention), people will randomly make comments when the camera is just hanging over my shoulder: “Cool camera, man!”, “You must be a photographer” and “Nice Old School.” If people think it's my granddad's or they recognize it as a modern digital is still to be determined. I think most think of it as a retro-camera, or an actual old camera. But it gets a lot of attention in silver, that's for sure.

After all, the Leica M is a design statement, a masterpiece of a camera. The silver Leica M10 is stylish over-the-top. Leica M10 with the new slimmer 'Rock'n'Roll' strap from, made for the Leica M10. Here it's with the. © 2017 Thorsten Overgaard.

New slimmer Leica M10 strap from Tie Her Up I've been using the “Rock'n'Roll” leather straps from on most of my cameras for the last year or more. The Leica M10 is a slimmer body, but I didn't notice it much. Then Tie Her Up made their special Leica M10 edition of the “Rock'n'Roll” strap, which is thinner than the usual one, and that actually made a difference. The thinner the strap, the more you feel and appreciate the thinner Leica M10 body. The Leica M10 is thinner than the previous Leica M digital rangefinder cameras; it's now the size of the traditional film Leica M rangefinder cameras. Rome, May 2017. © 2017 Thorsten Overgaard.

The freedom of digital cameras Speaking of film cameras, having had digital Leica M rangefinders since 2009, I've never looked back to film. I still have film, film cameras and a drum scanner in the studio, should I ever get a craving. So far it hasn't happened.

I appreciate the speed and simplicity of working with digital. With a new digital camera model usually comes a slightly different sensor that you have to get used to and find a way to tweak into your usual look and workflow. When you photograph DNG (Digital NeGative; raw files that capture all the data from the sensor, as well as the edits you make to it in the computer, in one file), you have the possibility to work them over, and be able to re-work them later when you learned more on what you want. The raw data is always there, as well as the edits that can be edited further, or reset back to how it came out of the camera. I'm sure I did this photograph with a purpose to show something about colors, though it has since slipped my memory what it was for. © 2017 Thorsten Overgaard. Unlike film, you can change your mind on digital files.

I'm not a fan of returning to already finalized digital files. On the contrary I am a big believer in that you do something, and that's how it is. Finish stuff and look ahead. But in the case of a new Leica M10, I found that I didn't have to stress over the look of the files. I could keep using the camera the first many weeks, dealing with the look later, knowing I could finalize my editing once I had made a decision on what I wanted the Leica M10 to look like.

I'll get into the look of my black and white files later in this article, and the sensor and colors of the Leica M10 in upcoming articles. © 2017 Thorsten Overgaard. Biblical Facts In photography and new digital cameras, there are the things everybody know are important. The higher ISO, more dynamic range, faster focus, more megapixels and longer battery time. Those are nice things to have, and often the main features in digital camera reviews.

They are actually not essential to a camera. They are essential to consumerism (the art of making people buy, throw away and buy something newer). Why is it called a 'camera'.? The word Camera is today's short name for Camera Obscura (which originally means “a dark room”).

Origin of the word Obscura means 'dark' or 'covered', and the word Camera means Chambre and was used originally only as a Latin or alien word, actually only for Spanish soldiers' rooms, until popularized in connection with photography in 1727: “Camera Obscura”. In 1793 the slang term “camera” was used by Sterne Tr. Shandy: “Will make drawings of you in the camera” and by Foster (1878), “The eye is a camera”. Ibn-al-Haytham mentioned Camera Obscura in his 'Book of Optics' in 1021. The concept of Camera Obscura was described by Iraqi scientist Ibn-al-Haytham in his book, “Book of Optics” (1021) and by Leonardo da Vinci in 1500; popularized and made widely known in 1589 by Baptista Porta when he mentioned the principle in his book “Natural Magic”. Johannes Kepler mentions Camera Obscura in 1604.

Camera = chambre (room), Obscura = dark (or cover). The essentials to a camera are so few and so elementary that they wouldn't sell a camera if one only put those features in a brochure: To keep the sensor in the dark and have controls to ensure it get exposed exactly with the right amount of light. An essential part of a camera is that the lens gathers the light so the image appears sharp or clear. That implies a lot of technology that we don't care to know the details of; but it's easy to judge by the picture. That's all we need to know about the lens design. Does it look bad, good or awesome?

() is a museum city with more than 100 original houses reassembled with every original piece. This one was moved from Copenhagen.

It's a great place to re-experience the type of light and colors painters used to paint 100 years ago. © 2017 Thorsten Overgaard. Another essential of a camera is that you can work with it. That it feels right, that is has a size so you will take it with you, and that it is built so simple it enables you to see, think and work. In other words, do you want to use it? The Leica M10 has those essentials, and I know these essentials are so boring they are hardly noteworthy.

Unless you look in your closet and notice the cameras you don't use. There's all the big and complicated cameras that looked good on paper but didn't work in real life. Should you still feel guilty about all the advanced camera equipment you bought in your life that you are sure others can get to work, but you can't, I hereby grant you amnesty. Nobody can figure out those things. My proud daughter. © 2017 Thorsten Overgaard. Why educate yourself in photography?

When you know photography, you can simply do certain things and it will result in a certain result. If you don't know photography and your camera, the result can be anything. There are two things to do to make a photograph: One is to focus the lens, the next one is to measure the light and set the camera's settings accordingly. That is all there is to photography.

I like to know about things. I read a lot, I work a lot and I practice a lot of things. That's what makes me able to think with the subject and use it to make the things I want. I don't challenge myself with new and advanced things which there is no reason for.

My focus is on understanding what I do, and creating. When it becomes simple, I know I got it right, and I go use it. I met this man from Aregntina in Los Angeles. He looked like he had been walking all the way, but he has been living in LA for more than 20 years.

© 2017 Thorsten Overgaard. I do as I want Most success in life is about how to break the rules. Or maybe rather, how to improve on what is the usual expected or accepted way of doing things. What do I do?

I photograph a lot, and I study a lot. I review my work, I study what I did, what I did wrong, how to do it right, and how others do it right or wrong. Ansel Adams said everything in a photograph had to be sharp, so you examine if that is right or wrong, and you see how you can break that rule.

Henri Cartier-Bresson said that out of focus backgrounds in color photographs looks awful, so you examine if that is right or wrong, and you see how you can break that rule. (He actually later expanded his view to say that all color photography was awful). My beautiful wife at in Beverly Hills.

© 2017 Thorsten Overgaard. The camera manufacturers presume you want the camera to do it this way, so you examine how that is right or wrong, and you see how you can break that rule and make something nobody else has seen. You make it your own expression. If you do certain things right in photography, you end up with a result. The exposure is the only basic rule in photography (that the final result has to look like reality), and you should know all about how to get it right with closed eyes and in your sleep. And even then, that look of looking like reality is open for interpretations.

Danish film director in his home. © 2017 Thorsten Overgaard. Buy the Best-Selling eBook by Thorsten Overgaard: 'Finding the Magic of Light' 'I have just been reading your eBook last night, which opened my eyes for more than I have been thinking about before. You have a great sensitivity that I feel connected with, and I enjoyed every word.'

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(Note: If you bought the first edition of this book, this new edition is free. Simply send an for your free update). ★ ★ ★ ★ ★ ★ Being professional in using the Leica M10 You don't have to have used a Leica M rangfinder camera for 100 years to be professional in handling it.

You don't have to possess magic powers to handle it. You can become very professional in handling it by learning about it; studying all material you can lay your hands on about the Leica M, the Leica lenses and photography in general. Then train with it and become familiar with the apparatus itself. You don't become a professional by owning a camera, You become professional by using it. And the more you wonder “what if?” and “why did that happen?” and “how did he do that?” the more you expand your ability to do things.

Obviously, the simpler the starting point is (the camera itself), the easier it is. I once got an e-mail from a person who bought a Noctilux lens after he saw a photo I made of a fire hydrant with it. Since then I've obsessively been photographing fire hydrants (also called fireplugs). At least we're two people in the world who think they look really cool. © 2017 Thorsten Overgaard. Move your feet There was once a questionnaire done amongst Magnum photographers regarding what their advice to young photographers would be.

The most important thing many of them agreed, was to get good walking shoes or boots. You walk a lot to take photographs. But here's another bit of advice I have on this, which also has to do with using the feet to get good photographs: When I see a sparkle, I stop. Some stop when they see a funny thing, an interesting gesture or a nice background. For me it's the light. You can change the light by moving your viewpoint around. Simply move your feet.

That goes for people, cars, buildings, landscapes, flowers and so forth. You walk around them and see how the light changes; and with it changes the shape and details of things. © 2017 Thorsten Overgaard. If you just take a photo, that's a snapshot. When you start moving around to get the light right to tell the story and get aesthetics, crop out elements that don't belong in the frame and include what is part of the story, that's photography. Photography is writing with light, but it's not the light source itself we photograph.

All you see with your eyes, the textures, the beauty, the colors and the shapes – and the order you notice them in – is guided by reflections of light from a main light source. It's the reflections of light that shape things and define them.

It's also the quality of light that determines if a photograph is perceived as crisp and sharp, or not. Another part of moving your feet, is to tell the right story.

What should be in the frame, and what shouldn't be in the frame. The more you use just one lens, the more natural you simply know where to stand to take that photo (tell that story) you want to tell. It's not that you can have only one lens. Once you know one lens, you can play around with another one. There are so many nice lenses.

Multiplayer Pool Game Script Download here. © 2017 Thorsten Overgaard. The ISO dial I use ISO 200 on the Leica M10 in the daytime, and 3200 ISO in the evenings and indoors.

ISO is simple to figure out: The brighter light, the smaller ISO number. When there is less light, the ISO number has to go up to compensate for the missing light. I seldom go to 6400 ISO or 10,000 ISO because it introduces the possibility of noise on three levels: A) more grain and B) stripes in the image, and C) less accurate colors, depending on the type of light you encounter. If you know that the sensor in the Leica M10 has a base ISO of around 100 ISO to 150 ISO, you also know that any departure from that ISO is depending on a predefined calculation of how things would look if there was more light. All digital cameras have a sensor with a base ISO of between 100 – 200, and that is what they factually can see (how sensitive they are to light). All other ISO settings are calculated using algorithms (predefined calculations) as to what a color and tone should look like if you turn up the sensitivity up 6400% or 25,000% artificially.

Nikon camera sensors genrally have a base ISO of 200. Canon usually 100 ISO. Leica M9 has a base ISO of 160.

Leica M240 has a base ISO of 200. The Leica M monochrome cameras (that only do black and white) have a base ISO of 320. The Leica M10 has a base ISO of 100-150. I'll get more into the sensor of the Leica M10 as well as the colors, in a later article. The ISO-dial on the Leica M10 goes from 100 ISO to 6400 ISO and then has Auto ISO and Manual ISO.

When the dial is on M, the ISO is set in the camera's menu. I've set mine to 10,000 in the camera's menu so whenever I set the ISO dial to M, it is set to 10,000 ISO. Historic kickback The ISO Dial on the Leica M10 is the first Leica M with a dedicated dial for ISO on the outside of the camera (when we omit the recent special edition, that has no screen but instead an ISO dial on the back of the camera). It's not that I change the ISO very often, but I like the mechanical feel of the ISO dial, as well as the historical reference back to the Leica M3 where the similar looking wheel on the top left was for rewind of the film. Nothing is like the old days: The classic Leica MP film rangefinder camera with a knob for rewinding of the film.

The ISO dial may prevent that people use AUTO ISO (where the camera sets the ISO for you). What's wrong with AUTO ISO is that the camera then keeps changing both the ISO and the shutter time based on what the electronics determine to be “right”. As photography seldom works that way, you often need to apply your own judgment and change the settings. With AUTO ISO on, you would have to change both ISO and shutter time to get it the way you want it. With the ISO wheel set to 200 ISO in daylight (and 3200 ISO or 6400 ISO in dark settings), all you have to deal with is the shutter time. Much easier to control and get right when you want to take a photo against the sun, in a dark room, with a dark background, in the snow and so on. Creative photography simply isn't compatible with “Auto”.

My friend in Los Angeles, aka my. This is a good example that despite all I messed up, the final picture worked: I often tell people that emotional impact is more important than focus and megapixels; as well that people like their portrait more for how they look than how sharp their face is. This is a good example of both, because it's not technically a great photo, but Matteo asked for a print for his house in Italy. © 2017 Thorsten Overgaard. Using the ISO dial on the Leica M10 The Leica M10 ISO dial The ISO dial is locked and weather sealed. The contacts in it are operating with magnets so water, snow and dust can't get into the camera.

You lift the ISO dial with two fingers to change the ISO, then press it back in lock position. In situations where I know I have to change ISO often, I leave the ISO dial up and unlocked so I can just turn it.

There's been a few reports of ISO dials that stop responding correctly, and then Leica Camera AG have replaced or repaired them. Jackson 5 memories in a club in Hollywood. © 2017 Thorsten Overgaard.

Manual ISO The M on the ISO dial is Manual: In the Leica M10 that means you set the ISO in the menu. But as the ISO dial is faster and easier to use, you will use that mostly. I have set my ISO in the camera on 10,000 so that whenever I turn the ISO dial to M, it is 10,000 ISO. Not that I use that a lot, but at least something intersting happens when I turn the dial to M then. The only reason there is a Manual ISO setting on the dial, is because all ISO settings from 100 ISO to 50,000 ISO obviously didn't fit on the dial. When you go to M, you can set the menu to all ISO-levels higher than 6400. When the ISO dial is set to Manual, the ISO is set in the menu of the camea.

I have set my ISO in the camera to 10,000 so that whenever I set the ISO dial to manual, the camera is 'automatically' set to 10.000. Automatic ISO The A on the ISO dial is Automatic, which I never use. The A on the ISO dial could easily be confused with the A on the shutter speed dial, which stands for Aperture Priority Mode (where the shutter time is calculated automatically by the camera based on the light coming in through the lens; and where changing the aperture will change the calculation and thus the shutter time). On the ISO dial, however, the A stands for AUTO ISO.

A photo posted by Thorsten von Overgaard (@thorstenovergaard) on Jan 31, 2017 at 9:02am PST The Leica M10 in black with my. Photo by Florian Boberg. Picture count in the Leica M10 There is no official way to count how many frames a Leica M10 has taken; the so-called “shutter count”. In the Leica M9 you could see the, but from Leica M240 and onward, the shutter count is as unknown as with a classic film Leica. Danish film directror.

© 2017 Thorsten Overgaard. Lens with 6-bit codes in camera and Lightroom When Lens Detection is set to Automatic the camera will write which lens was used into the EXIF file ( EXchangeable Image File format) of the image, as long as the lens has the 6-bit code engraved on the bayonet. A 6-bit code on a Leica M lens EXIF information as it appears in Lightroom All new lenses have the 6-bit code engraved, and most older lenses can get engraved by Leica Camera AG or by a third party.

Only some older lenses which have physical screws where the code should be engraved cannot be engraved by Leica Camera AG (such as for example the from the 1960's). Which lens used is nice information to have for later review of images. I usually put the lens and camera in the keywords of my images because I like to know and I don't trust that the EXIF information will always be available across all software. Automatic lens profile in Leica M10 Whereas choosing the lens profile in Lightroom was and is a possibility for pictures taken with previous Leica M digital rangefinders (M8, M9, MM, M240, M262 and M246), the Leica M10 uses the lens profile by default.

You can turn it off manually, just as you could turn it on or off in Lightroom on previous Leica models. What does it do? It corrects mainly optical things such as making lines straight. In some cases it also adjusts colors and/or contrast overall, or in the edges. Overall I find the corrections so relatively small that I never cared to use lens profiles for previous models; and I don't care to remove them for the images I do with Leica M10.

I presume the default use of lens profiles and their corrections have the blessing from lens designer Peter Karbe. My daughter Robin Isabella looking the part in Hollywood. © 2017 Thorsten Overgaard. Lens correction only applied on DNG, not JPG You will notice that if you photograph DNG and JPG at the same time in the Leica M10, that the DNG and JPG are slightly different in their appearance in Lightroom. The DNG file are corrected when imported into Lightroom, and the JPG files are not. The natural explanation for this is that the lens correction is a software correction (performed in Lightroom), whereas the camera itself does not apply any corrections. I often wonder if the use of lens correction profiles slows down Lightroom performance, but it's not something I have investigated.

I've just noticed that Lightroom seem to work slower for each update. Maybe one day I will perform an experiment; or if you do, please let me know.

Family Instagram'ing. Working on her Chanel bags with me in the mirror. © 2017 Thorsten Overgaard. Leica 6-bit coding on older Leica M lenses In my is a complete overview of all Leica lenese ever made. The lenses marked with 6* are the lenses that can be updated with 6-bit code. Contact for price and shipping. Using 6-bit coded lenses vs.

Non-coded lenses When a coded Leica M lens is attached to the M10, the camera automatically switches to 'Auto Lens Detection', even if a different lens had previously been entered in ' Manual M Lens detection'. This also means that it is impossible to manually select a lens if the camera detects bit codes. Using Adobe Lightroom for Leica M10 Until April 2016, all Leica cameras (even the smallest ones) came with a free Adobe Lightroom download. These days they come with a free 90 days trial of the entire Adobe Cloud. If you are new to Lightroom, I will suggest signing up for your own 30 day free trial with Adobe Lightroom only so you don't get into the whole cloud and have to downgrade in 90 days. Hollywood Boulevard. © 2017 Thorsten Overgaard.

Capture One Pro for Leica cameras I find it very likely that in the future Leica will supply a free trial of Capture One, as that in my opinion is the way to go in the future. As of September 12, 2017 the supports Leica M10, as well of Leica M Monochrom and Leica M-P.

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Some chapters will start come before. Lightroom support for Leica M10 since February 2017 From Lightroom version 6.8 (or cloud version 2015.8) there is support of Leica M10. Since then, version 6.9 (cloud version 2015.9) has come out. If you click Help >Check for Updates inside Lightroom, you will experience it says it's updated to the latest version even though it obviously is not.

You actually have to uninstall Lightroom first, then install the LR 6.0 and then the update 6.8 or 6.9. To install the LR 6.10 or 2015.9 with support of M10, first uninstall your current Lightroom: In Applications >the Lightroom folder contains an >Uninstall Lightroom option you can run. Choose “Keep preferences” when you uninstall as you will else have to set up LR again from scratch with your preferred preferences. Then install Lightroom 2015.8 or Lightroom CC 2015.9 from here: Using Desktop App: Stand-alone download of Lightroom 6.8, Lightroom 6.9 or Lightroom 6.10: First download 6.0, then download the update (which is further down this Adobe page): You can also use these links for the update patches: Lightroom 6.8 / 2015.8 Update Patch: Lightroom 6.9 / 2015/9 Update Patch: Lightroom 6.10 / 2015/10 Update Patch: You will have to uninstall your current Lightroom before you can upgrade. Lightroom Camera RAW update Camera RAW should update itself automatically, but you might want to do it manually just to make sure you got it right.

To install the Adobe Camera RAW with support of M10 go to this page and download the Adobe Camera Raw: In Lightroom, only the Lightroom 6.8 or CC 2015.8 and later versions support the Camera Raw that supports Leica M10. Previous Lightroom versions are supposed to work with new Camera Raw versions, but in reality, they don't (Adobe calls it “backwards compatible”, but it doesn't work). Which Leica M10 profile to use in Lightroom? There is a Leica M10 profile built into the Leica M10 files. In any older version than the Lightroom 6.8 / Lightroom CC 2015.8 that profile will be the only one visible. When you update to Lightroom 6.8 / Lightroom CC 2015.8 you will have the possibility to use the Adobe Standard profile which gives more natural skin tones and reduces the blue shades. For the Leica M10, I have decided to go with the Adobe Standard. The People Walker poster in Los Angeles.

It's actually a great idea, and he even has a YouTube channel now, walking around with celebrities in Hollywood. If you go to Hollywood, maybe hire him, and remember to always wear a camera. © 2017 Thorsten Overgaard. I've had the discussion some time ago with Leica M product manager, Jesko Oeynhausen, regarding whether the Leica or the Adobe camera profile is the most optimum or correct colors? Leica Camera AG makes the embedded LEICA M10 profile as good as they can, so that the camera has a profile when released. A while after the camera has been released, Adobe then creates their Adobe Standard as a sort mix of how Adobe thinks colors should look and how the sensor data obtains the most elasticity within the Adobe suite of software – how to make editing in Lightroom the most elastic (how much the files can be stretched).

Whichever is best, that's for you to decide. In the Leica M 240, I preferred the Embedded. In the Leica M10, I go for the Adobe Standard. You can set Camera Profile in Lightroom, it's in the bottom right corner when you are in the Develop mode. Black and white JPG's only has Embedded Profile As for black and white tones (when the Leica M10 is set to JPG in the File Format of the camera menu and Monochrome in the JPG Settings in the camera menu), there is only LEICA M10 embedded profile available.

The monochrome JPG is simply made in the Leica M10 camera and saved to the memory card per the pre-defined tonality. Better black and white images in the Leica M10 I wasn't entirely happy with the greytones of the Leica M10 JPG file. So, I decided to make my own Leica M10 black and white preset that I can use to make the DNG file into a black and white with the tone values close to how the Leica M9 made black and white JPG files. The black and white JPG out of the Leica M10. My own Leica M10 black and white preset.

My Black & White Presets When I say not happy with the tones, I am talking about the skin tones and definition of details that I found a bit flat. The texture of the skin was missing, and the glow was missing, and often darker skin tones were too dark. I've made my Leica M10 profile in two versions. One that translates the image into Process 2010 (which is the one I prefer to use), and one that translates it into Process 2012. Difference between processes is which tools Lightroom gives you to work with.

Which Leica M to get? I won't get into that in this article.

But here is an overview of the different models. Currently Leica Camera AG offers some discounts on Leica M 240 with lenses that might make that camera the choice while Leica M10 is on waiting list. Model Leica M8 Leica M8.2 Leica M9 Leica M9-P M Typ 240 M-P Typ 240 M Typ 262 M-D 262 Leica M10 EVF No No No No 1.4MP EVF-2 External 1.4MP EVF-2 External No No 2.4 MP Typ 0020 Visoflex with GPS device.

Cased, WW2 Nazi Cold Climate (Blue Triangle) Dienstglas (Service Glass), 7 X 50 Magnification, Infantry Officer's Binoculars By ‘bmk’ Srb & Stys, Fabrik praeziser Messinstrumente, Prag. Sn 10400:11 - 10400:11 An original pair of WW2 Nazi Dienstglas (Service Glass), 7 X 50 Magnification, Infantry Officer's Binoculars & case. The binoculars have undamaged adjustable Bakelite eyepieces with flip up lens covers. The body of the binoculars have lanyard bars and they are fitted with original thin leather neck strap.

All optics are good and function as they should. The right shoulder of the binoculars are crisply stamped 'Dienstglas 7x 50' and with serial number '152707'. It is also stamped with the code 'bmk' which is the Nazi wartime code for Srb & Stys, Fabrik praeziser Messinstrumente, Prag together with a blue triangle which indicates cold climate use (A blue triangle meant that they were constructed for cold climate, White for temperate climates and Green for hot climates). They are contained in their fitted sturdy black leather case with hinged lid. The lid of the case has its retaining strap and the body has its original single stud fastener.

The case is fitted with leather shoulder strap. Price for these nicely marked Nazi Binoculars in their WW2 dated case, includes UK delivery. Sn 10400:11 £895.00.

WW2 Nazi German, Winter/ Russian Front (Blue Cross) Dienstglas (Service Glass), 10 X 50 Magnification, German Infantry Officer's Binoculars By Carl Zeiss, Jena (rln) With WW2 1941 Case By ‘htg’ Duderstadt Plant, Westphalia. Sn 10400:10 - 10400:10 An original pair of WW2 Nazi German, Dienstglas (Service Glass), 10 X 50 Magnification, Infantry Officer's Binoculars & case. The binoculars have undamaged adjustable Bakelite eyepieces. The body of the binoculars have lanyard bars and they are fitted with original thin leather neck strap and leather tab for attachment to Uniform. All optics are good and function as they should. The right shoulder of the binoculars are crisply stamped 'Dienstglas 10x 50' and with serial number '26994'. It is also stamped with the code 'rln' which is the one of the Nazi German War Time codes for Carl Zeiss, Jena, together with a blue ‘+’ which indicates that the lenses were treated to withstand temperatures down to -40° for cold climate use such as Winter or use on the Russian front.

They are contained in their fitted sturdy black leather case with hinged lid. The lid of the case has its original sprung, armoured strap and the body has its original single stud fastener.

The case is fitted with leather shoulder strap. The body of the case near to the rim is crisply waffenamt ‘WaA326’ and dated 1941 together with ‘htg’ which is the Nazi German War Time Code for Polte Armaturen Maschinenfabriken Duderstadt plant, Westphalia. Price for these nicely marked Nazi Binoculars in their WW2 dated case, includes UK delivery. Sn 10400:10 £895.00. WW2 Nazi German, Winter/ Russian Front (Blue Cross) Dienstglas (Service Glass), 7 X 50 Magnification, German Infantry Officer's Binoculars By Carl Zeiss, Jena (blc) With WW2 1944 Case.

Sn 10400:9 - 10400:9 An original pair of WW2 Nazi German, Dienstglas (Service Glass), 7 X 50 Magnification, Infantry Officer's Binoculars & case. The binoculars have undamaged adjustable Bakelite eyepieces. The body of the binoculars have lanyard bars and they are fitted with original thin leather neck strap and leather tab for attachment to Uniform. All optics are good and function as they should. The right shoulder of the binoculars are crisply stamped 'Dienstglas 7x 50' and with serial number '43999'. It is also stamped with the code 'blc' which is the Nazi wartime code for Carl Zeiss, Jena together with a blue ‘+’ which indicates that the lenses were treated to withstand temperatures down to -40° for cold climate use such as Winter or use on the Russian front. They are contained in their fitted sturdy black leather case with hinged lid.

The lid of the case has its original sprung, armoured strap and the body has its original single stud fastener. The case is fitted with leather shoulder strap. The body of the case near to the rim is faintly Waffenamt, WW2 dated which appears to be '1944' together with 3 letters which are unreadable, no doubt a Nazi manufacturer mark. Price for these nicely marked Nazi Binoculars in their WW2 dated case, includes UK delivery. Sn 10400:9 £895.00. WW2 British No.5 MK 5, x7 Prismatic Anti Aircraft & Coastal Artillery Binoculars & Early WW2 1941 No.5 MK 1 Leather Case By Papworth Industries.

Sn 11094 - 11094 These are an excellent original cased pair of British WW2 No.5 MK 5, x 7 Prismatic Binoculars. Introduced in 1943, these binoculars were issued to Anti Aircraft & Coastal Artillery Units (see page 151 of A Guide To Handheld Military Binoculars By Rohan). The binoculars measure 7' X 8' and have a black textured stipple finish, with adjustable eyepieces. The body of the binoculars have lanyard bars. All optics are perfect and function as they should.

The left shoulder of the binoculars is crisply stamped with type and model detail highlighted in original white paint. The right has graticule information and a small cartouche highlighted in original white paint. The shoulder screws are highlighted in original red paint and the frame has a WD arrow. They are contained in their fitted hard body brown leather case with hinged lid and single retaining strap with buckle. The case is fitted with 2 large rear belt loops, side tab strap loops, leather shoulder strap with brass buckle & leather carry handle.

The top of the lid is impressed with manufacturer detail ‘Papworth Industries’ together with 'OS/997 and ‘Bino Prism No.5 Case MK 1' and '1941' date. The front of the case is stamped with WD arrow. The case is undamaged with all stitching intact.

Price for this nicely marked pair of WW2 binoculars & case includes UK delivery. Sn 11094 £245.00.

Early WW2 Nazi German, Cold Climate (Blue Dot) Winter/ Russian Front Dienstglas (Service Glass), 10 X 50 Magnification, German Infantry Officer's Binoculars By Carl Zeiss Jena With WW2 1944 Nazi Marked Case. Sn 10400:8 - 10400:8 An original pair of WW2 Nazi German, Dienstglas (Service Glass), 10 X 50 Magnification, Infantry Officer's Binoculars & 1944 Nazi marked case. The binoculars have a black textured finish which indicates early WW2 manufacture ( 1944 and 1945 models were usually manufactured with a grey or smooth finish, see page 117 of Military Binoculars by Rohan). The binoculars have adjustable Bakelite eyepieces. The body of the binoculars have lanyard bars and they are fitted with original thin leather neck strap. All optics are good and function as they should.

The right shoulder of the binoculars is crisply stamped 'Dienstglas 10x 50', serial number '2163409' and H/6400 (refers to reticle scale graduated in mils). The left shoulder is stamped with the manufacturer’s cartouche ’Carl Zeiss Jena’ together with a blue dot which indicates that when manufactured they were greased for cold climate use. They are contained in their fitted sturdy black leather case with hinged lid. The lid of the case has its original sprung, armoured strap and the body has its original single stud fastener. The case is fitted with leather shoulder strap. The body of the case near to the rim is Waffenamt.’WaA14’ and dated 1944. The case also has an unreadable 3 letter Nazi manufacturer code.

Price for this excellent set of nicely marked Nazi Binoculars in its WW2 dated Nazi marked case, includes UK delivery. Sn 10400:8 £795.00. WW2 Nazi German, Winter/ Russian Front (Blue Cross) Dienstglas (Service Glass), 10 X 50 Magnification, German Infantry Officer's Binoculars By 'beh' ( Ernst Leitz, Wetzlar) With WW2 1942 Case. Sn 10400:6 - 10400:6 An original pair of WW2 Nazi German, Dienstglas (Service Glass), 10 X 50 Magnification, Infantry Officer's Binoculars & Nazi marked case.

The binoculars have a black textured finish which indicates early WW2 manufacture (1944 and 1945 models were usually manufactured with a grey or smooth finish, see page 117 of Military Binoculars by Rohan). The binoculars have undamaged adjustable Bakelite eyepieces. The body of the binoculars have lanyard bars and they are fitted with original thin leather neck strap. All optics are good and function as they should. The right shoulder of the binoculars are crisply stamped 'Dienstglas 10x 50' and with serial number '419889'. It is also stamped with the code 'beh' which is the Nazi wartime code for 'beh' which is Ernst Leitz, Wetzlar together with a blue ‘+’ which indicates that the lenses were treated to withstand temperatures down to -40° for cold climate use such as Winter or use on the Russian front.

They are contained in their fitted sturdy black leather case with hinged lid. The lid of the case has its original sprung, armoured strap and the body has its original single stud fastener. The case is fitted with leather shoulder strap. The body of the case near to the rim is waffenamt ‘WaA14’ and dated 1942 together with 3 letters which are unreadable, no doubt a Nazi manufacturer mark. Price for this excellent set of nicely marked Nazi Binoculars in its Nazi marked WW2 dated case, includes UK delivery. Sn 10400:6 £595.00. WW2 Nazi German Army Officer's Kalte Fett Winter/ Russian Front Dienstglas (Service Glass) 6 X 30 Magnification Binoculars By 'eug' (Optische Praezisionswerke GmbH, Warsaw, Occupied Poland) & Steel Case.

Sn 10400:5 - 10400:5 These are an excellent original cased pair of Nazi German Army Officer's, 6 X 30 Magnification, Binoculars. These types of binoculars were also issued to Army Scouts (see page 89 of A Guide To Hand Held Military Binoculars by Rohan). The Binoculars have a black textured finish, with adjustable eyepieces. The body of the binoculars have lanyard bars and are fitted with original leather neck strap. It’s Bakelite adjustable eye pieces are undamaged and all optics are excellent and function as they should. One shoulder of the binoculars is marked Dienstglas 6 x 30, 60704 & H/6400 (refers to reticle scale graduated in mils). The other ‘KF’ ( Kalte Fett indicating Cold Weather Lubrication for Russian Front Winter use) & ‘eug’ manufacturer (eug is the Nazi German War time manufacturer code for Optische Praezisionswerke GmbH, Warsaw, Occupied Poland ).

The Binoculars are contained in their original fitted sturdy black painted metal case with hinged lid metal clasp fastener and hanging rings. The case is fitted with 2 leather belt straps to the rear. One of the straps is Waffenamt ‘WaA100’. The inside of the lid is padded to protect the binoculars. The inside of the bottom of the case is stamped with a small circular cartouche containing ‘OFT2’. Price for this excellent set of nicely marked cased WW2 Era Nazi Military Binoculars includes UK delivery. Sn 10400:5 £475.00.

British WW1 1918 MK IX Brass Trench Periscope By R&J Beck Ltd With Screw off Wood Handle. OPT 815 - OPT 815 An excellent British WW1 Brass Trench Periscope. The scope measures 23' overall and has a screw off 9' contoured wood handle with brass ferrule. It has an adjustable brass eyepiece and all optics function as they should. The frame is faintly stamped and dated by the manufacturer 'R&J Beck Ltd MK IX Periscope 1918'. It is also stamped with number '23798'.

The brass scope retains some of it's original brown paint. Price includes UK delivery. OPT 815 £325.00. WW2 British No.5 MK 5 x7 Tank Binoculars & WW2 1944 No.5 MK 1 Leather Case By BH & G Ltd. Sn 10780 - 10780 These are an excellent original cased pair of British WW2 No.5 MK 5 x 7 Tank Binoculars. The binoculars measure 7' X 8' and have a black textured stipple finish, with adjustable eyepieces.

The body of the binoculars have lanyard bars and they are fitted with a thin webbing neck strap with buckle. All optics are perfect and function as they should. The left shoulder of the binoculars is crisply stamped with type and model detail highlighted in original white paint together with large red 'W'.

The right has graticule information and a small cartouche highlighted in original white paint. The shoulder screws are highlighted in original red paint and the frame has a WD arrow.

They are contained in their fitted hard body brown leather case with hinged lid and single retaining strap with buckle. The case is fitted with 2 large rear belt loops, side tab strap loops & carry handle. The top of the lid is impressed with manufacturer detail together with 'OS/997 and Binocular Prismatic No.5 Case MK 1' and '1944' date. The case is undamaged with all stitching intact. Price for this nicely marked pair of WW2 tank binoculars & case includes UK delivery. Sn 10780 £225.00. BATTLE OF BRITAIN ERA, MATCHING NUMBERS, Cased, WW2 1940 British Anti Aircraft (A.A.) / Close Range Attack, Verifying Camera By Houghton Butcher Manufacturing Co E17 (London) With Type II 10 1/2' Lens, Serial Number 738 & Accessories.

Sn 10782 - 10782 Little is known about these cameras. During WW2 Anti Aircraft personnel would have used these portable still cameras to verify/ identify types of enemy aircraft and confirm hits on targets. RAF aircrews would have used them to verify strikes during close range attacks. This is a superb, rare complete example with accessories. The camera comprises a steel cased camera fitted with a Type II 10 1/2' lens with hinged lense protector and cable wired steel pistol grip with wood scales and adjustment arms with Bakelite ball ends. The case of the camera has it's model and type detail together with serial number '738' (illustrated) all highlighted in original white paint.

The camera and accessories retain all of their original grey paint covering. Accessories include, adjustment tools, spare spring, spare film holder and spare reflector lense.

The camera is complete with it's original wood transit case with hinged lid, clasp fasteners and rope carry handle. The interior of the case has compartments for the camera and it's accessories. The interior of the lid has it's original stamped steel instruction plate. The bottom of the plate has the manufacturer detail and '1940' date as can be seen in image 2 (The Battle Of Britain was fought between Summer & Autumn of 1940).

There is also an old contemporary auction label 'S&H Lot 156'. The exterior of the case has reinforced riveted steel corner protectors and it retains most of it's original green/grey paint. The exterior lid of the case is stencilled with original markings 'AA Verifying Camera' and with matching serial number '738'. We have not tested this camera but it is undamaged and appears fully functional. Price for this piece of early WW2 dated history worthy of further research includes UK delivery. Sn 10782 £450.00 Page 5 of 8.