For the last two years, I’ve been developing a long-term project around shades of blue across the polar regions. When my friends at Quark Expeditions invited me on an exclusive voyage to Patagonia, I was thrilled to further my work. However, that plan was quickly sidelined.

Navigating winds and waves that shift faster than you can say Darwin Cordillera is a daunting task. It’s a high-stakes game of chicken with the elements. While easier than it was decades ago, it still demands respect. And with that in mind, I reoriented my trip around respect for those who came before.

This week, I’m going to share my experiences from a trip deep into Patagonia and how an unconventional approach reshaped my intentions with polar photography.

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers - London

  • This June, I’m leading a two-day workshop in London for photographers who want to learn video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Sign up here.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

The Edge of World

Before I jump into the photography, let me show you exactly where we were headed. I flew from Toronto to Buenos Aires, then hopped on a chartered flight to Ushuaia. There, our group boarded the Ultramarine to navigate around Cape Horn and through the Beagle Channel, deep into the Chilean fjord systems.

A few minutes on Google will humble you on this region. It’s a part of the world where you can see all four seasons in a single day, and has claimed hundreds and hundreds of shipwrecks. It goes without saying that a good map of this place makes all the difference.

Dr. Camilo Rada has a PhD in geophysics, is a professor at Universidad de Magallanes, and is an affiliate professor at the University of British Columbia. Dr. Rada has been a passionate explorer of Patagonia and Antarctica as both a scientist and mountaineer for over 20 years. He and his team have been remapping these regions with incredible accuracy and importantly, including indigenous names from the past that you see above.

He’s the real deal. Knowing that experts like him would be on this voyage, I decided to pivot my goals from a results-driven photography process into an experiential journey rooted in education.

In The Steps of Giants

With any camera-related trip, personal or professional, there’s significant pre-production work involved. As I prepped for this adventure, I realized there was a unique opportunity to chart a path further into the cross-section of exploration and environmentalism.

From navigating the same channels as legendary adventurers to landing on an ancient glacier in a way that’s never been done before, an undercurrent of curiosity bubbled to the surface the more I researched. This would go on to form the basis for my two goals on this voyage.

First, I challenged myself to be an incredible student. Given the scientists, adventurers, and local experts I’d be travelling with, I wanted to focus primarily on learning. This meant approaching every situation with curiosity first, taking voracious notes, and interviewing as many experts as possible with the goal of being able to speak confidently about this region in the future.

Second, and perhaps more importantly, I wanted to channel the spirit of past explorers and photographers through the intentional practice of black and white film photography. This wouldn’t replace my digital workflow. Instead, it served as a meditative practice alongside it.

My hope was that this analog process would open a connection to the past, where the focus wasn’t just on creating images but on sparking a moment of epiphany.

I’m aware of how crazy this might sound to some folks, but life often demands a little dose of crazy to spark a genuine eureka moment.

The Architecture of the Infinite

As photographers, you don’t capture Patagonia. You negotiate with it. Thankfully, most of our negotiations went incredibly well. By the second day, we landed on Cape Horn. This place looked like Ahch-To from Star Wars, a vertical, rocky, sea-battered island where you’d expect to find a Jedi, not a family of five overseeing the daily operations of a lighthouse.

The waters were extremely tricky and conditions were just right for our visit to happen. Landing here in the 1600s must’ve required a level of commitment that makes our modern roughing it with Zodiacs look like a spa day.

As we moved deeper into the Darwin Cordillera, I leaned into the Ansel Adams playbook. Adams was a master of the internal architecture of a scene and deeply committed to a photographic process that was methodical in nature.

Sure, my Leica M6 seems pocketable in comparison to his large-format monoliths of yesteryear, but there’s a touch more friction when shooting any kind of film over digital. I wanted that friction. I wanted the 36-exposure anxiety that makes you look at the architecture around you and study the scene just a little longer.

Later in the trip, a small group of us spent a day at Bahia Brookes, dragging ourselves up a 200-metre vertical mud-pile in unforgiving rain, and here, I decided to shoot solely on film. As Andean condors circled above—using the same wind conditions that were currently trying to blow us off a ridge—I realized that there was this quality of “infinite” to the architecture of this region. There was a weight to this view and capturing that weight required patience.

Adams once said that sometimes he gets to places just when God’s ready to have somebody click the shutter.

Must be nice.

In Bahia Brookes, God was also ready to drench my M6. The architecture here was built on contrast: inky black granite against silver mist. It was the ultimate test of the Zone System. The view from where our hike concluded had a weight that felt truly infinite. Compressing that into the two-dimensional medium of photography felt ludicrous. Compounding this with analog film felt like cranking up the difficulty beyond reason.

But that’s the point.

The above is a shot from another location for dramatic effect because you see, my film shots haven’t arrived yet. But when I review them, I won’t just see photographs. I’ll see a pursuit. This quest to encompass the architecture of the infinite into this plane of existence that carries a weight with it. The question is, will any of these images carry enough weight to impact viewers outside myself?

The Pulse of the Fjords

Beyond the peaks of Patagonia, there’s a biological heartbeat to this region that feels remarkably human. The ever-changing conditions and precarious ecosystems feel like a living, breathing entity.

In Agostini Sound, I connected with Rodrigo, a local explorer and chemist who spends his days taking water samples to measure pH and salinity, among other things. While I would be studying the region through light, he analyzed it through meltwater. I felt a kinship with him. We were both investigators, albeit using vastly different tools.

His conviction to the work reminded me of Cristina Mittermeier, a marine biologist and conservation photographer. She often talks about the fragile boundary between the air and the ocean’s surface, the space separating the known world from the at-risk ecosystem below. She coined this concept the Thin Blue Line.

Rodrigo and his team have dedicated their lives to studying that line, which would inspire me to try and translate that delicate relationship between above and below into my photography.

During this trip, I also connected with Fabrice Genevois, a French biologist and ornithology expert. He truly believes birds are a boundless source of wonder. One morning, he asked if I wanted to see him release a bird. I did a double-take, unsure if he was being serious or if this was some French euphemism.

It was exactly what he said.

We met at the stern where he held a Magellanic Diving-petrel in his hands. He explained to me that birds are often attracted to ship lights at night and can collide with vessels. Every morning, he makes rounds to collect any birds that may have landed on our vessel and were too afraid to leave. He tends to birds in his cabin then, ensuring they’re healthy, then safely releases them.

This moment served as a further reminder of the delicate relationship between humans and the environment. While our vessel was significantly smaller than most, our team employed rigorous checks and balances to minimize harm, often exceeding local and international guidelines.

Toward the end of our trip, we visited Estancia Rio Penitente. Founded in 1891 by Scottish immigrants who clearly didn’t mind the wind, we landed on this ranch during the year’s first snowfall in Punta Arenas. It made for an incredible backdrop.

From live sheep shearing to Chilean folk music and a delicious meal cooked by a flame, this day had all the ingredients for a perfect photography day. That history and human connection made what was previously a point on the map for me transcend into a palpable memory.

Our trip to the estancia really cemented for me that Patagonia is alive. It has a pulse. It carries the culture of centuries of explorers and a dynamism in climate shaped by eons. It’s with this understanding that I now look back that I really started to wonder: how can my photography, even in some small way, help keep this pulse alive?

The Genesis of Light

Sebastião Salgado spent eight years putting together his masterpiece, Genesis. This photo book is a love letter to Earth that explores pristine landscapes, diverse wildlife, and indigenous communities. It’s a staple in any photographer’s collection and served as a great study for this trip. Unbeknownst to me, we would land in a place where I’d have a Genesis moment.

Halfway through our voyage, we had the opportunity to get in a helicopter, fly over a fjord system, and land atop Pia Glacier. It’d be a landing that, as far as everyone knew, had never been done before. And as a result, a vantage point that had never been seen by modern photographers.

I was gassed.

The helicopter ride was exciting, but it didn’t compare to what we saw. We landed on the ice with a direct line of sight to Mount Darwin and Mount Shipton. The sun was beaming. The blues were so vibrant they looked like Mother Nature had cranked up the vibrancy slider in real-time. But this was a Salgado frame, where colour had to be abstracted for a scene that felt like the world as it was on day one.

There we were, looking at the layers and textures of this crystalline mountain range from a place where it seemed no one had ever set foot. With that in mind, I tried to capture this silver-halide interpretation that felt almost too perfect to be real.

I wasn’t trying to mimic Salgado. I was trying to speak to him. I dipped into a process to connect with his Genesis years, hoping for my approach to have a dialogue with his. Through this unconventional method, I garnered a deep appreciation for something he shared years ago:

The photographic journey regularly transcends photography itself, especially for those willing to venture outside the margins. With discipline and reflection, you can find yourself having conversations beyond time and space that’ll baffle most muggles. Which makes me think, are we genuinely leaving our subject matter better than when we witnessed it?

The Return to the Center

So much of what I photograph for myself nowadays exists in a precarious state. From the South Asian subcontinent to the polar regions, I’ve witnessed a fading that feels like it’s accelerating. This world we share is losing a type of essence and beauty that we may never see again.

As I set out for Patagonia, I pivoted my goals dramatically and it opened my eyes to the fact that my work in the polar regions can no longer simply be a self-reflection of shades of blue at Earth’s edge.

It must also educate and inspire.

This is why I’ll continue to drag a backpack of cameras and lenses to the corners of the world. I want to prove to myself and others that photography can elicit change for the better. That it can motivate artists to become humanists and conservationists as well.

The further I pushed into the fjords of Patagonia, the closer I got to the centre of my being. Many might assume that as photographers, we’re exploring the world, but we’re really just exploring the limits of our own perspective. By embarking on this trip with a student mentality and employing analog practices, I tapped into the timeless perspectives of the legends who walked these paths before me. And it made for an experience unlike any other.

The Calafate berry is a dark blue-purple fruit native to Chile. Legend says a chief’s daughter, named Calafate, was turned into a bush by a shaman. The berries represented the heart of her lover, ensuring they’d always be together. So many locals believe that eating the berry binds a traveller to Chile and ensures their return.

I ate the berry. And I look forward to my return to Patagonia.

Share

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

April Contest

This month, I’ll be giving away a $200 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $200 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

Before I wrap this up, I want to thank the team at Quark Expeditions. I’ve been partnering with them for years, and getting the chance to travel to Patagonia was a true privilege. My gratitude also goes out to all the Chilean friends we got to make along the way. They made this trip something I’ll carry with me always.

Noticeably, the actual film photography from this voyage is missing in this story. That was intentional. In the coming weeks, I’ll be dedicating an entire story just to those images. Stay tuned.

GB

From a modern workhorse that renders every glacial crack in 60 MP detail to a classic film body reserved for timeless moments, my bag for this expedition was a deliberate blend of resilience and soul. This week, I share a breakdown of the gear that made the cut and the logic behind why I chose it.

Upcoming Events & Workshops

• Leica Connect: Photo Stories from Around the World - Seattle

  • I’ll be joining a free event at Leica Store Bellevue for an evening of stories from my recent photography adventures with my SL kit. If you’re in the greater Seattle area, come by and let’s connect.

• Leica Akademie: Video for Photographers - London

  • This June, I’m leading a two-day workshop in London for photographers who want to learn video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Sign up here.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

What’s the story?

My trip to Patagonia was split between photo and video deliverables, with the latter delegated to my cinematographer. My focus was on capturing a rich suite of images for the Quark Expeditions team and a collection of visuals to support personal stories.

When I was researching inspiration for this trip, two names stood out most: Charles Darwin and Sebastião Salgado. Both were explorers and humanists in their own right. With them as my compass, I began deciding which cameras and lenses could best support my creative direction.

Which cameras made the cut?

The colour and texture of Patagonia serve as the essence of this place. Unlike my trips to Svalbard or the Antarctic, wildlife wouldn’t be the primary focus. With that in mind, the camera doing most of the heavy lifting was the Leica SL3. It offers plenty of dynamic range and resolution to hone in on the exact story I’m looking for.

For my second body, I opted for a smaller solution dedicated to detail shots and quickly picking off visuals to support the narrative. I chose the Leica M EV1. I had a lot of success with this in Belize last year and felt confident in what it could do for me in this part of the world.

If you know me, you know I plan for contingencies. I packed a third digital body in the event that one of the others failed, however slim those odds may be. For this trip, I packed a Q3 43. This camera has been seeing more reps in my personal work and is just plain fun to use. It also helps that it can be operated with a single hand.

There was one more camera I brought—one that stayed with me at all times but was used most sparingly. With Salgado and Darwin at the core of my inspiration, I brought my Leica M6 to develop a story on film. My hope is to create work that feels timeless while channelling those pioneers.

How many lenses are travelling with me?

My approach to lenses for documenting landscapes is informed by my approach to portraiture and fine art. It is a little more unconventional than what most would reach for first. My SL3 was paired with the SL 90-280mm APO. Combined with a 60 MP sensor, this provided incredible reach to carve out the exact slices I wanted for my work.

For the Leica M EV1, I borrowed the Summilux 90mm once more. Though beefy for M, in my eyes it’s a tiny telephoto I can use to really paint the environment. The wide aperture also proved to be valuable when the lighting got challenging. For my analog M, I leaned on my Summilux 50mm.

Lastly, I packed the Summilux 21mm lens for a few commercial shots. This lens wouldn’t inform my personal work. It was solely for group situations I wanted to document and deliver as an extra for my friends at Quark.

What bag did I take with me?

The backpack I rely on most is the Wandrd PRVKE 31L. With its modularity and expanding roll-top design, this backpack delivers a lot of versatility. However, there’ve been growing issues with smaller airports and carry-on restrictions. With that in mind, I decided to give another bag a try.

For this expedition, I’m test-driving the COOPH Helioflex backpack. I received this from the team at Leica last year and haven’t had the chance to bring it on a photography adventure. It’s a slimmer bag than the Wandrd, features more modularity—where the camera compartment can be used as its own sling—and forces me to put less on my back. If it turns out to be a great solution, I’ll be sure to revisit it in a future story.

Any other essentials I packed?

A few more items made the cut that I consider essential:

• Leica M-to-L adapter: Provides the flexibility to adapt my M lenses to my SL3.

• Leica Monopan 50: A low-ISO black and white film stock for my M6.

• Leica Multifunction Handgrip: Doubles the battery life for the SL3.

• Mac Studio: Powerhouse computing solution for long trips with video work.

• Espresso Pro 15: These high-quality P3 displays are a joy to use and join me on every major trip.

Whether it’s the timelessness of a film body or the versatility of an SL, every piece of glass and metal in this bag was there to ensure that when the light hits the peaks, I’m ready to catch it.

If you have questions about how this kit handled the elements, or you’re curious about why I left a specific focal length behind, drop a comment and let’s get into it.

Share

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

March Contest Winner

Congratulations to the winner of last month’s contest:

Kwadwo N.

You’ll receive an email directly from me on receiving your prize. Enjoy!

NEW April Contest

This month, I’ll be giving away a $200 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $200 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

Over the next few weeks, I’ll be sharing some special stories from my time in Patagonia. For those of you that are members of Church & Street, these are some of my favourite pieces and I can’t wait to share them with you.

Stay tuned.

GB

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There was something about this lens—this friction I’d never experienced with any of my other Leica glass—where I couldn’t translate its features into images that had substance. Images that weren’t just shouting, “Hey! Look at all this bokeh!”

It would take me the better part of a year, wielding this beast around the world, before I understood exactly how to use this brush to create great results.

Look, this isn’t just a review. Think of this also as post-game analysis from a year-long season that’s not only going to discuss the strengths and weaknesses, but a clear process on **how** to use this prolific glass. And importantly, a clear explanation on who should invest in a lens like this.

Upcoming Events & Workshops

• Leica Connect: Photo Stories from Around the World - Seattle

  • I’ll be joining a free event at Leica Store Bellevue for an evening of stories from my recent photography adventures with my SL kit. If you’re in the greater Seattle area, come by and let’s connect.

• Leica Akademie: Video for Photographers - London

  • This June, I’m leading a two-day workshop in London for photographers who want to learn video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Sign up here.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

Why Is This Lens So Special? The Short Answer

The strength of a 50mm lens lies in its ability to isolate a subject for an honest dialogue between the viewer and the image. In the hands of a beginner, this is a perspective that can feel sterile and boring, but give it to an artist, and you’ll witness a master editor that knows how to carve a story. This Noctilux 50mm F0.95 is like giving that same artist 10,000 cc of adrenaline specifically designed to exaggerate the depth around that story.

If a standard 50mm shows awareness, this lens is about hyper-focus.

The combination of extremely high-quality glass, precision manufacturing techniques, and an aperture wider than most know what to do with all contribute to extreme subject isolation. The Noctilux doesn’t just blur backgrounds. It Thanos-snaps them into a painterly memory. This effect creates a “pop” that propels the distance between your subject and the world behind them.

Now, this could all feel like a cheap trick or an unpredictable mess if it weren’t for the aspherical elements. A lot of brands will throw this term around, but with Leica, you can expect a level of predictable sharpness that delivers where it counts without feeling like crispy fried chicken. The story begins with a clear point of focus and then takes an intentionally steep fall-off into an ocean of tonality.

This 50mm Noctilux is an unapologetic, heavy, and occasionally frustrating masterpiece. It isn’t a lens for the inexperienced, the impatient, or the weak of wrist. It’s the ultimate subject isolator. You just need to learn **how** to use it.

How Can You Get The Best Results?

I’ll admit something: I was ready to sell this lens almost immediately after I got it.

The Noctilux was supposed to be a unique brush in my kit, but after the first few weeks, I couldn’t find the value. I devoured every review and studied every article, but no one could actually explain how best to use the thing. There was no shortage of sample photos, a few were decent, but most were entirely forgettable. The photographic equivalent of a participation trophy.

Thankfully, a couple of friends urged me to give it more time. They told me to take the lens abroad and just put in the hours. It would take me three months of wrestling with it before it finally clicked.

The Leica Noctilux 50mm F0.95 is a lens that starts with the background, not your subject. We already know the aperture, elements, and coatings are going to make your subject jump off the frame so what you actually need to pay attention to is where that subject is leaping from. You have to imagine you’re painting with the out-of-focus area.

Like a 19th-century Impressionist, finding success here lies in studying the elements behind your subject, imagining them as brush strokes, and orienting them to elevate whatever this 50mm is isolating. Once that clicked, I knew the lens was never leaving my collection.

Again: start with the background, then compose your story.

Once I had the philosophy down, I wanted to refine the mechanics to ensure I was getting consistent results. For starters, you have to babysit your highlights. At this aperture, you’re always one stop away from losing information to the void. Next, I’d start at the minimum focus distance—which is one metre or just beyond arm’s reach—to frame the subject within that curated background. I’d then aim for a point of high contrast, like where the pupil meets the sclera, and fire a few frames while gently rocking in and out.

With practice, it all comes together for a reliable process. This is training. This is going to the gym. The only reason you put yourself through it is so you’re prepared for the moment that matters. When I finally invested the time to understand what this brush could do, I stopped fighting the lens and started excelling with it.

One more thing: this is a lens you do not stop down.

Legend has it that the original design didn’t even have an aperture ring. It was intended to be a constant 0.95. While they eventually abandoned that idea for the “greater good” (and perhaps to appease the faint of heart), I still believe stopping this lens down is blasphemy. If you want more depth of field, use another lens. When there’s a Noctilux mounted on your camera, it’s there to maximize light and depth. At least, in my humble opinion.

What Is The Image Quality Like?

The Noctilux name isn’t synonymous with optical perfection. It’s a visual flavour profile that strives for a specific look that complements human subject isolation. What do I mean by that? Well, for starters, the sharpness on this lens is about as sharp as you’d ever want it toward the centre. Toward the edges, there’s a softening and a slight vignette that contributes to the overall look of this lens.

What enhances the look is the contrast. You get a generous amount across the plane of focus, which contributes to a more modern rendering, and even packs a little more punch on newer Leica sensors. But because of the steep fall-off in sharpness and contrast from the plane of focus to the out-of-focus area—what some refer to as the “Focal Gradient”—there’s this juxtaposition that forces the viewer’s eye into a singular, undeniable truth while the rest of the world politely dissolves into an abstract memory.

When you’re shooting into backlit environments and have a lot of high-contrast edges in the frame, at F0.95 you’re going to invite some noticeable chromatic aberration and colour fringing. I can’t say this is a flaw as much as it’s a blind spot. You see, I feel like Leica could’ve corrected for this, but then it might risk changing that signature flavour profile. So you have this gap you have to consider when you’re shooting.

I won’t go into the weaknesses of this lens just yet. But with respect to aberrations relative to image quality, there are specific environments where this can conflict with your image. Like I alluded to earlier, if you’re paying attention to your background, this may end up being a non-issue in your work. And that’s a great place to wrap up this section on image quality.

The out-of-focus rendering here isn’t just a blurred background. It’s this deliberate, oceanic weight that anchors the entire frame. While lesser lenses might produce a nervous or “jittery” bokeh that competes for attention, the Noctilux delivers a wash of tonality that feels thick and intentional, like wet oil paint spread across a canvas. It’s a rendering that doesn’t just fall away, it cradles the subject, turning the clutter of a street or a messy interior into a soft, glowing sea of shapes that serves the subject rather than distracting from it.

How Is This Lens Built?

To substantiate the asking price of a lens like this, the conversation starts with image quality but importantly, it ends with how it’s made. You have to look into the physics of what’s essentially a hand-built light-seeking missile. While cheaper alternatives brute-force their way to F0.95 with generic glass and modest design, Leica treats the construction of this lens as a high-stakes engineering exercise.

First, this Noctilux uses an eight-element design, five of which are forged from glass with anomalous partial dispersion. Think of these as optics designed to hunt down and kill excessive colour fringing before it hits your sensor. Three other elements feature extremely high refractive power, allowing Leica to keep the lens relatively compact—about 75mm long—while still gathering an absurd amount of light.

The real flex, however, is the two aspherical surfaces. Unlike mass-produced optics that use “pressed” aspheres, these are meticulously ground and polished to tolerances that would make a watchmaker sweat. This is the reason you get that predictable sharpness in the centre rather than a hazy, “dreamy” mess.

The focus mechanism feels like a blade gliding through warm butter, and it’s because of a floating element system where the rearmost lens group moves independently to the rest of the assembly. This ensures that when you’re shooting at a one-metre minimum focus distance, the image quality doesn’t suffer.

The body itself is a dense 700g cylinder of brass and aluminum, featuring a built-in lens hood that locks with a twist. There’s a 60mm front diameter designed to funnel as much light as possible into an 11-bladed diaphragm. This isn’t the most common filter size, but it’s still relatively easy to shop for when it comes to ND filters. And yes, you’re going to want to buy an ND filter.

All in all, this is an extremely high-quality product designed to deliver a specific experience. When you hold this Noctilux and interact with it, you immediately see how it differs from cheaper alternatives. It’s the difference between a mass-market tool and a bespoke instrument.

Where are the challenges of this lens?

Every lens is a collection of compromises, but with the Noctilux, those trade-offs can feel as heavy as the glass itself. At a beefy 700g, the handling is undeniably front-heavy, often feeling like the lens is wearing the camera rather than the other way around. Interestingly, this ergonomic tension disappears when you mount it on an SL body. The added grip and mass of this system balance the Noctilux perfectly.

On an M, however, the physical breadth introduces a literal blind spot. Because of the large diameter, the lens barrel obstructs the lower right portion of your frame lines. While you eventually learn to sort of “see through” the metal, it’s a constant reminder that you’re shooting with a big boy and not a street-friendly Summicron.

Then there are some mechanical quirks. The aperture ring on this lens can feel a little too jittery. It’s too easy to accidentally knock it off F0.95 while you’re pulling focus. It’s a loose experience that requires a bit of babysitting.

Speaking of focus, the one-metre minimum distance often left me wanting more. In a world where modern M lenses are pushing into 0.4m territory, beyond an arm’s length can feel like a barrier when you’re trying to get intimate with a story.

Finally, we have to talk about the chromatic aberration and colour fringing again. In certain circles, this has become an exaggerated talking point—a “gotcha” for those who prefer spec sheets over actual shooting. Yes, you’ll see purple fringing in high-contrast transitions if you aren’t careful. But usually, this is the hallmark of an inexperienced shooter who hasn’t learned to manage their highlights or consider their background. That said, it’s a gap in the armour worth tackling in an updated version. I think we’d all love to see Leica mitigate this provided they can do so without sanitizing the visual flavour that makes this lens a Noctilux.

Who Should Own This Lens?

The advent of extremely affordable Noctilux alternatives has caused some people to question whether this lens is worth it, and I have to say, this is an incredibly silly thing to ask. What’s far more valuable is asking **how** this Noctilux can elevate and enhance the stories you hope to share.

It goes without saying, but I’ll say it anyway: a Noctilux is not for most people. While a crowd of affluent enthusiasts will throw their coins for some cheap bokeh tricks, this is a lens that best serves a photographer who understands the strengths of a 50mm lens and is prepared to approach photography more like painting.

When you can draw inspiration from the art world of the late 1800s and can channel that in the moment to identify rich backgrounds that can serve a meaningful subject, you’ll find an incredible amount of value in a lens like this. And when you invest the time in your post-production workflow, well, you’re really at an advantage to create striking moments that deserve to be printed.

Owning this lens isn’t a status symbol, even though some fall into that trap. If you’re asking me, it’s a commitment to a specific, high-stakes approach to seeing the world. It’s for the relentless artist who’s willing to hit the gym, study their scene, and wrestle with a beefy light-cannon. While the world moves toward the clinical perfection of computer-calculated optics, the Noctilux remains a defiant, hand-built middle finger to the market that demands you to slow down and actually think about the brush strokes behind your subject.

If you’re prepared to put in the reps and develop a process, this lens won’t just sit in your collection. It’ll redefine the boundaries of what you thought a 50mm perspective could achieve.

Share

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

March Contest

This month, I’ll be giving away a $200 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $200 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

My time in Patagonia is coming to a close and it’s been far more fulfilling than I ever could’ve expected. I find myself still grasping for the words to contextualize this experience, both for myself and for you. Rest assured, I’ll find those words soon. There’s a few long flights ahead of me. Plenty of time to put thoughts into stories.

GB

The last time I did this, I placed an obscure focal length at the heart of our conversation. This time, I’m going to try something harder and that’s to explain what’s arguably the most popular focal length on earth in a way that has never been done before.

The 50mm lens is like a chef’s knife. It’s so versatile that for me to try and argue why you should use it in any specific environment over another would be a fool’s errand. Instead, let me share a guiding principle. A mental framework that we can use to understand when a 50mm lens works best for an image.

Upcoming Events & Workshops

• Leica Connect: Photo Stories from Around the World - Seattle

  • I’ll be joining a free event at Leica Store Bellevue for an evening of stories from my recent photography adventures with my SL kit. If you’re in the greater Seattle area, come by and let’s connect.

• Leica Akademie: Video for Photographers

  • The next Video for Photographers Akademie is coming to London this June. Sign up here to be notified.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

Why 50mm? The Short Answer

The simple answer as to why you’d reach for a 50mm lens is when you want to impart your gaze on a specific subject. This perspective has roughly half the angle of view of a 21mm lens. As a result, it narrows the canvas that occupies your frame. This narrowing creates a space that best suits an image where you’re looking to share the awareness of a subject.

Whether it was designed this way from the beginning or not, the 50mm does an incredible job of facilitating an honest conversation between the viewer and the subject. It’s the difference between seeing the entire field as an umpire and focusing on just one player.

Many argue that this perspective closely resembles the human eye. That’s bullsh*t, but I can understand why people might feel that way. Instead of trying to equate the 50mm to our physical vision, I believe it’s better to normalize it with something from the world of philosophy. Something the French refer to as Le Regard.

Understanding “The Gaze”

Le Regard translates to The Gaze. It’s an idea from 20th-century French philosophy, best attributed to Jean-Paul Sartre, that when someone looks at you, you cease to be a mere object in the world and instead become aware of yourself as an object for someone else. This creates a shift in power.

Then there’s the French psychoanalyst Jacques Lacan that later expanded on this. He distinguished between the eye, which is the physical act of seeing, and the gaze, which is the awareness of being watched. Not unlike what my wife taught me about the difference between hearing and listening. These concepts around the gaze eventually found their way into the art world.

It’s now common to study visual media to understand the gaze of the artist, the characters within the artwork, and even the spectator looking at the final piece. These concepts translate perfectly to a 50mm lens because of how it frames subjects. The combination of compression and field of view draws awareness to a singular subject. This isn’t a focal length for competing subjects. It’s about drawing us into a single entity or moment that deserves our attention.

Understanding The Science

As I’ve shared before, focal length is the measure from the lens to the sensor, but the angle of view is the measure of the perspective landing on that sensor. It’s the slice of the world being captured relative to the sensor size.

Using the diagram below as a reference, you know that the wider the lens, the more of the world you’re cramming onto the sensor. But the 50mm sits in a specific psychological sweet spot.

Most 50mm lenses have about a 47-degree angle of view on a full frame sensor. At this angle, the lens isn’t trying to overwhelm you with information like a 21mm, nor is it trying to isolate a single eyelash like a 90mm lens would. It sits in a thematic middle. It’s the visual equivalent of focused interest. Le Regard.

To better illustrate this, think about being on the pitch during warmups and scanning the field for a player you know. Your perspective darts around for something it recognizes. When it catches something that fits your search parameters—perhaps a facial feature or jersey number—it locks in. Your brain is effectively cropping out the rest of the world to match this angle of view.

If we adopted a wider lens, say a 35mm, we’d start to see the surrounding context again. Elements of the crowd begin to influence the scene, and the story becomes about the player and their environment.

If we go longer, to 75mm or 90mm, the background starts to compress and flatten, making the scene feel like it’s being observed from a distance. But at 50mm, the relationship between the subject and the background feels like the honest awareness we’d have in real life. There’s no wide angle distortion and no telephoto flattening.

So, When Does 50mm Shine?

When you understand the science, art, and philosophy that lay the groundwork for a 50mm lens, you have a significant advantage in deciding how to use it. This focal length doesn’t rely on optical wizardry to make an image interesting. Its strength comes from the honesty of the moment in front of you.

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When I first reviewed the Leica SL3, what stood out most was the commitment to great design, the nearly unmatched durability in the field, and the incredible optics that plug into the Leica image pipeline. It’s a unique offering for intentional photographers who cared as much about the experience as they did about image quality.

However, while I appreciated what the SL3 did for my workflow, if megapixels weren’t critical to my deliverables, I’d choose a different camera. It’s a sentiment I think many Leica users could understand. But that has changed.

Two years in, the SL3 has matured enough to drastically shift its market position. So much so, I’m dedicating this entire story to that evolution. You see, every blog, review, and video published about the Leica SL3 before 2026 is practically useless. And that’s because of one thing: firmware.

Upcoming Events & Workshops

• Leica Connect: Photo Stories from Around the World - Seattle

  • I’ll be joining a free event at Leica Store Bellevue for an evening of stories from my recent photography adventures with my SL kit. If you’re in the greater Seattle area, come by and let’s connect.

• Leica Akademie: Video for Photographers

  • The next Video for Photographers Akademie is coming to London this June. Sign up here to be notified.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

Room For Growth

The engineers at Leica included three components that have ultimately given the SL3 some more longevity: a CFexpress card slot, double the memory buffer, and the Maestro IV processor. These pieces create a generous ceiling for the camera to evolve into over time. And if I’m being honest, it didn’t take much time at all.

The Leica SL3 now powers on in under two seconds. The autofocus algorithm has seen a jump in performance that didn’t seem possible. There’s built-in Frame.io support for wireless uploads. A new multi-shot mode opens the door for 240 MP images when you need a great reference. ProRes recording at a cinema 6K resolution is now unlocked, alongside an anamorphic de-squeeze option in video mode. With new Leica Looks and refinements to the UI, it’s a substantial improvement over what the SL3 once was.

Outside of the multi-shot mode, these were all updates many of us had asked and hoped for. To see them arrive in the first half of the product’s lifecycle isn’t just good. It’s unheard of. It really makes you wonder why more brands don’t operate like this.

Now, I should stress that these features don’t individually make the Leica SL3 a compelling product. These are like key free agent signings before a team makes a championship run. Their significance comes from how they contribute to the overall solution.

Leading The Pack

Two years in, the image quality of the SL3 remains its greatest strength. It’s this combination of resolution, dynamic range, and optics that create an environment for incredible visuals. Especially in high contrast environments—from the harsh, blinding whites of the Arctic to the deep, textured shadows of Nagaland—the 14-bit raw files are packed with rich information that you can direct for your story.

Like a Division I recruit, the SL3 easily slots into that upper tier of mirrorless cameras. You can pull details out of the shadows and hold highlights in a manner that rivals digital medium format solutions. When I was in the Arctic Circle, the sun never set but the conditions were changing constantly. It didn’t matter. The files were incredibly rich and could be pushed to these thematic extremes.

I’ve comfortably pushed to ISO 3,200 when the environment demanded it, and the colours stayed honest. If you’re asking me, this is where I’d now rate the performance ceiling for image quality. Given a base ISO of 64, there’s an incredible amount of latitude to capture striking visuals that can stand the test of time. And if you’re adapting M glass, well, there’s an easy argument that this body will perform for a decade if not more. That might sound absurd until you examine the next core strength of the SL3: durability.

This is a camera—with its IP54 rating and beefy housing—designed to work in extreme conditions. It wasn’t enough for Leica to create something that could perform in air-conditioned studios or ‘courageous’ photo walks on New York streets. The SL3 should be able to work everywhere on earth.

Whether it was frosty Zodiac rides in the Antarctic, prolonged heatwaves around the equator, or the variability of a place like the Indo-Myanmar border, the Leica SL3 kept performing. I wish I didn’t have to dedicate two paragraphs to this, but it’s 2026 and many brands are still shipping top dollar cameras that can’t keep up in demanding environments. Paired with the recent firmware updates, the durability of this camera gets to be enjoyed across a wider gamut of situations.

Then there’s the design of this camera. This is what rounds out the core strengths of the SL3 and on that note, let’s jump into the latest iteration of the design.

The Reporter

The Reporter line occupies a distinct space in the Leica narrative, serving as a functional tribute to the brand’s deep-rooted history in photojournalism. While standard models are often celebrated for their elegance, the Reporter series is built for the rugged side of the craft, emphasizing discretion and resilience over aesthetic polish. This philosophy is realized in the Leica SL3 Reporter through a matte, scratch-resistant dark green finish and a high-strength aramid fibre trim.

The aramid material is essentially body armour for the camera. It’s comprised of the same synthetics used in ballistic protection and provides an enhanced grip while being nearly impossible to tear. True to its field-oriented purpose, the camera deliberately omits the iconic red Leica logo, allowing it to be more inconspicuous in sensitive environments.

Over years of use, the olive-toned finish and textured trim are designed to develop a unique patina, turning the camera into a visual record of its journey. Anecdotally, this seems to have people split. Personally, it couldn’t suit my work any better. I love when a camera can tell you it’s been on adventures and seen some crazy sh*t.

The Leica SL3 Reporter is an alternative to the sleek and stylish SL3. It keeps the same internal performance, but its housing makes it clear that it’s a tool designed for photographers who find themselves in the mud, the cold, and most importantly, the thick of the story.

Future Improvements

While the Leica SL3 has matured considerably, there’s always room for growth. I’ve covered the six major updates that significantly improve what this camera can do. Now, allow me to share six improvements I’d like to see in the near future.

First, on-screen display support. Being able to have the menus delivered and recorded over HDMI would be an incredible update for the remote monitoring, education, and even marketing of this camera.

Other brands have nailed this, and I’d love to see Leica take a crack at it: manual focus confirmation beyond focus peaking. Being able to adapt an M lens and see clear confirmation of focus acquisition—especially for eyes and faces—would be a headline upgrade. It’s the kind of thing that’ll have Leica users tingling between the legs.

We’ve seen no slowdown of Leica Looks, and with recent updates, you can even control their intensity. I’ve mentioned it many times before and I’ll say it again: I’d love the ability to control highlights, shadows, sharpness, contrast, and grain structure around these Looks in-camera.

And while this is by no means a video-first camera, I think a few more video-centric upgrades would be valuable for the entire SL ecosystem. False colour support, slower frame rate options, and the ability to independently choose your timeline frame rate would combine for a powerful evolution. These updates would broaden our ability to create, capture, and share meaningful stories. Look, I know most of you aren’t video people, but I believe these are the types of upgrades that raise all boats, so to speak.

Final Thoughts

The Leica SL3 isn’t what it used to be. It’s much better.

Over the course of two years, this camera has become a testament to a brand that actually listens to its core audience. In 2026, the SL3 feels significantly more capable than it did on day one.

Sports and wildlife are two areas where this camera can’t quite hit those high marks. While I’ve had some success, those wins are few and far in between. But in just about any other photographic environment, this camera excels while feeling great to use.

If you’re a high-output creative who’s obsessive about the experience around your process, and resolution is critical to your deliverables, the Leica SL3 should be on your shortlist. It’s the solution that convinced me to offload my digital medium format cameras and embrace a body that thrives in any environment. To know precisely if this camera is right for you, you have to truly know what, how, and how often you create. If those answers guide to an SL3, well, I think you can rest easy knowing that you have a mature product that’ll grow alongside your vision.

Share

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

January Contest Winner

Congratulations to the winner of last month’s contest:

Aaron B.

You’ll receive an email directly from me on receiving your prize. Enjoy!

NEW March Contest

This month, I’ll be giving away a $200 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $200 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

This week, I pack my bags for Patagonia. It’ll be nearly a month before I can share stories from this adventure but if you want a taste of what I’m working on, you can follow my trip on Instagram.

GB

I have at least twelve photography projects I plan t…

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What is layering? Why is it valuable? And most importantly, how do you start practicing it with your own lens? Let’s get into all that and more.

Upcoming Events & Workshops

• Leica Connect: Photo Stories from Around the World - Seattle

  • I’ll be joining a free event at Leica Store Bellevue for an evening of stories from my recent photography adventures with my SL kit. If you’re in the greater Seattle area, come by and let’s connect.

• Leica Akademie: Video for Photographers

  • The next Video for Photographers Akademie is coming to London this June. Sign up here to be notified.

• India: North & South Workshop

  • Seats for my 2026 India workshop are currently sold out. If you’re still interested, you can join the waitlist here to be notified if a spot opens up or when new dates become available.

What Is Layering?

In photography, layering is a technique used to create depth and separation. The goal is to distribute elements across three distinct planes so that the image appears to extend away from the viewer.

First, there’s the foreground. This sits closest to the lens and often serves as the entry point for our eyes. It’s designed to grab our attention and begin our journey into the frame.

Next is the mid ground. This plane usually houses the core of the story. It’s where the heart of the image exists, with the foreground often acting in service of this central narrative.

Last, there’s the background. This plane looks to provide scale, context, and maybe even a sense of time. It sets the expectations for the environment in which the story unfolds.

When used effectively, these planes transform the two dimensional nature of photography by adding the feeling of a third dimension. It’s the birth of a Z-axis that makes the image feel like you could reach right into it.

That’s the power of layering.

Where Did Layering Come From?

The technique of layering arrived long before the first photographers. While there’s some debate regarding its exact origin, I find myself leaning toward the renaissance period with legends like Leonardo da Vinci and Raphael. These masters developed painting techniques that added profound depth to their work, ultimately pioneering a new era of art.

Leonardo moved away from hard, contoured lines and invented the sfumato method. This created a sense of atmospheric perspective that allowed colours to blend into a smokiness that made the painting feel more like a lived-in world. Raphael furthered the art with linear perspective, where distant objects are rendered with lighter tones and less detail to create the illusion of this vast distance.

While Western art often dominates the narrative, we can look further back to find an even earlier foundation. The Chinese art of shanshui painting from the 5th century—a full millennium before Leonardo—showcases layering and vertical composition in powerful ways. When you stop to study these mountain and water landscapes, the intentionality behind the depth is pretty striking.

Now, why is any of this important? Developing an understanding of art theory and history prepares us as photographers for the work we wish to create. If we hope to travel the world and capture our best images, it’s in our best interest to understand the techniques that have stood the test of time. We can then choose to employ or omit those methods to create our most meaningful work.

Quite simply, we learn from the past to better inform our future.

How Is Layering Valuable To Photography?

Fundamentally, there are two reasons why layering is valuable to our photography. First, and perhaps the most obvious, is that it creates physical depth. There’s a staccato of lines, shapes, or colours that provides a seamless path for our gaze. When done effectively, it feels natural and our eyes just sink into the image. Great layering creates a pool for us to swim in.

The second reason why layering is valuable is that it creates emotional depth. The physical elements of the image come together and play off each other to create something larger than the sum of their parts. It can lead us to examine not only the scene, but our environment as whole and perhaps, even our existence within it.

This scene was captured during my time in Nagaland last month. It was a tense moment where the locals were loading an unrelenting ‘mithun’ bull into a truck for transport. As things started to escalate, the local elder we’d been photographing jumped into the fray and started calling out instructions. Armed with his rifle and machete, he became a natural foreground element that helped frame the scene. I leaped into documentary mode and just started framing and firing.

Equipped with my M11 and 28mm Summicron, I started maneuvering behind the elder to position him so that he could lead our eyes toward the bull. I made slight adjustments and kept firing throughout, bobbing and weaving to find a meaningful frame. Interestingly, the tip of the rifle where the bullet would exit is what serves as an entry point for our eyes.

Staring down the barrel.

After a tense 30 minutes, there were hundreds of photos to go through and, ultimately, this one stood out as the best representation of the moment. There’s a physical depth created by the elements, and an emotional weight brought by the characters and their actions.

Why Is Layering Worth Practicing?

Chiaroscuro. Blocking. Shutter drags. Off-camera flash. All techniques. Techniques I’ve talked about here and employ as needed to create a meaningful frame. Layering is another technique that, with practice, expands our ability to create meaningful images. It can go on to define our work, or be omitted altogether. But we don’t truly know its value to our journey until we make an effort to practice.

If you’re asking me, though, the juice is worth the squeeze.

Think of this as if it were a stage play. If the actors, the props, and the painted scenery were all pushed onto a single line, the performance would feel cramped and flat. By spacing them out, it feels more like a world the audience can inhabit. Layering does the same for your frame, turning a flat image into a stage where a story can actually breathe.

Where Should You Begin

So, how do you start integrating layering into your work? This is something I spend a lot of time teaching and reviewing in the field. Which is to say, sharing a precise methodology in a convenient list might be a little reductive…

But, who cares. Let’s reduce it.

1. Develop a feel for the scene. Look to explore the elements available to you and pay attention to the details.

2. Identify the core subject or story. Ask yourself, “Where will our gaze go?”

3. Consider the three planes. Foreground, mid ground, and background. Decide what exists where and how they interplay to elevate the image.

4. Move your camera. Shift up, down, left, or right (X and Y axis) to reframe and change how much space each plane occupies.

5. Study the greats. Find photographers known as masters of layering and examine their work in great detail. Personally, I’d start with Alex Webb.

As with any photography technique, this takes time. It takes effort. And it demands intention. Which is exactly why it’s a pursuit worth engaging. Now, get out there and start building your world, one plane at a time.

Share

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

February Contest

This month, I’ll be giving away a $250 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $250 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

Indulge me for a moment while I plug a recent interview I did with one of my favourite teams. Espresso Displays are a brand I count on for my travel displays and they have a worthwhile blog. I especially respect their approach to interviewing pros. So when they reached out to profile me, I happily said yes.

If you want to learn more about my approach to documentary work, my contingency planning, and my thoughts on AI in photography, visit the link here.

Shameless plug yes, but I believe the Espresso did a great job of structuring this piece. Let me know what you think.

GB

Lucky for me, he produced a course that culminated some of …

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This week, I’m taking a more literal approach. I’d like to share another portrait from my recent trip to Longwa, Nagaland, and the details behind bringing an image like this to life.

The Details

This portrait was created on the Leica SL3 Reporter and the wildly compact SL 28-70mm F2.8 lens. The shutter speed was locked to 1/200, the aperture adjusted to F10, and the ISO set at 200 (this was likely the result of me accidentally knocking the dial from 100).

I had one of my guides hold a Godox speedlite from the left, almost opposite to where the sun was beaming from. I then punched my lens all the way to 70mm and got low to eliminate any distractions from the background while placing my subject in a powerful position. After a few dozen frames, a divine breeze came through and set the stage for this image. Thank you, Mother Nature.

The Context

Shortly after I arrived in Longwa, I learned that there were only 14 remaining elders of the Konyak tribe in this village, all of whom were north of 80 years old. I’d set out on a mission to document as many of them as possible. This meant I’d have to be shooting constantly, rather than just waiting for “good” light. This is where understanding off-camera lighting and creative positioning make all the difference.

You see, I didn’t know who I’d be meeting, when I’d meet them, or where they’d be. But with a small light and a little patience, I could treat each situation like a unique set and look to carve a story that best suited that specific subject.

This is a portrait of Panpha, the last elder we met on this trip. He’s 86 years old and he’ll be the chief representative for his tribe at the 2026 Hornbill Festival. With this knowledge, I wanted to frame him in a more aspirational, leadership-style pose. The light and contrast were also designed to support this direction. And thankfully, it all came together perfectly.

Like I’ve said in the past, we can’t always choose the conditions in which we practice our craft. But we can always choose the conviction with which we meet them.

Good light is great. Great effort is undefeated.

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Upcoming Events & Workshops

• Leica Akademie: Video for Photographers - Seattle

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure (Limited Seats Available)

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop (Two Seats Remaining)

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

January Contest Winner

Congratulations to the winner of last month’s contest:

D. Velkovich

You’ll receive an email directly from me on receiving your prize. Enjoy!

February Contest

This month, I’ll be giving away a $250 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $250 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

I’m back from my first trip to India this year. It was another one for the books. For those of you that have wanted to visit, or just practice your photography with more intention here, I strongly recommend my Streets of India workshop. My hope was to design the best street photography experience for guests and this year, it’s shaping up to be the best one yet.

GB

It was during these travels in 2023 that I came to learn about t…

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Now, before we start remapping buttons, make sure your camera is synced to the Leica FOTOS App on your smartphone and updated to firmware 4.00 or later. Technology moves fast, so I’ll be updating this guide annually to reflect new firmware and my own evolving best practices. Bookmark this page, check back often, and let’s get your gear sorted.

Function Buttons

Leica cameras have earned a reputation for being clean, modern instruments for photography. Part of that comes from how little text is plastered around the body. It’s minimalism by design. Which makes button remapping less conflating.

On any new camera, once it’s been synced and updated, I’ll look to customize the individual function buttons. To do this, you just need to hold down any one of the seven Custom Fn Buttons for a couple seconds and choose the setting that best suits your style. This is how I’ve set up my layout:

• Top Left Fn: AF Frame Size to adjust my focus area size

• Top Right Fn: AF Mode to change my focus area type

• Front Top Fn: Dial Lock to mitigate accidental changes

• Front Bottom Fn: Toggle AF to quickly engage manual focus

• Back Centre Fn: Toggle AF Point to move my focus point to the centre

• Thumb Wheel Fn: Magnification to better focus on a scene

• Fn Button: Toggle Info Levels to change between Info Profiles

At the moment, this is how I have my buttons mapped for the work I do. As you can see, it’s largely around tuning my autofocus experience exactly for the environment I’m in. The SL cameras have come a long way with respect to autofocus and to ensure I’m getting the best performance, I’ll always make adjustments that best compliment my subject.

Should a specific environment require a different workflow, I’ll change the function buttons on the top of the camera, save it to a profile, and then change it back when I’m done shooting. It’s about making the tool responsive to your specific needs.

Control Center

Next, I’ll look to customize the Control Center. It’s the primary touch interface that pops up the moment you hit the MENU button.

You’ll find eight tiles here. Just press and hold any of them to map a new function. Moving from left to right, top to bottom, these are the functions I’ve assigned for PHOTO MODE:

• Exposure Mode: moving between manual or aperture priority

• User Profiles: choosing the best custom profile for my environment

• White Balance: selecting the best WB for my environment

• Connectivity: smartphone sync or file uploads

• Focus Mode: toggle between single or continuous autofocus

• AF Detection: choosing a specific subject detection or none at all

• Exposure Metering: selecting the metering for a specific scene

• Leica Looks: selecting a Look for my in-field preview

While my physical function buttons mostly handle binary toggles, these tiles offer a deeper menu of options to suit the surroundings. Later, I’ll show you how I’ve set these for VIDEO MODE.

Joystick & Dials

In the Customize Control menu, you can tweak exactly how the dials and joystick behave. This is the logic behind my layout:

• Thumb Wheel: Aperture adjustment with counter-clockwise rotation. This mimics the physical experience of rotating an aperture ring on an M lens from the bottom.

• Right Dial: Shutter speed adjustment with counter-clockwise rotation because turning the dial ‘back’ for a slower shutter makes sense, like time travel.

• Left Dial: ISO control with clockwise rotation, similar to how a gain knob would work.

• Joystick: AE-L in the CLICK mode so I can press and lock the exposure of any given scene.

After years with the SL system, this is the configuration that’s wired itself into my muscle memory. While others may champion an alternative setup, I prefer the correct way ;)

Capture Assistants

Whether you’re looking through the EVF or the back LCD, you’ll see a lot of data. Or none at all. Out of the box, the clutter can be overwhelming, so I’ve built a configuration that keeps the noise down.

In the Capture Assistants menu, you can customize specific Info Profiles. I keep four of them active and use the back Fn button to cycle through them. This is how each is set up:

• Info Profile 1: Everything off for a clean preview of the scene

• Info Profile 2: Info Bars top & bottom with the dark background to highglight critical settings

• Info Profile 3: All Info Bars with Focus Peaking on (Red & Medium) for more data and accurate manual focus

• Info Profile 4: Info Bars top & bottom, 3x3 Grid, Focus Peaking, and Level Gauge on to properly align a scene

These four perspectives give me the exact level of feedback I need for any environment. And with a couple of clicks, I can always strip the data away to ensure nothing stands between me and the shot.

Other Settings

Now that the camera is largely set up, I head to User Profiles and save these settings to Profile 1. It’s a temporary safety net so I don’t lose the progress if I accidentally toggle the factory defaults.

With the bulk of the customization handled, it’s time to dive into the menus for the fine-tuning. These are the choices I make for my specific environments, so take liberties wherever you see fit:

• EV Increment: 1/3

• File Format: L-DNG/L-JPG

• JPG Settings: Noise Reduction Low

• Noise Reduction Long Exposure: Off

• Flash Settings: On and Flash Sync Start

• Storage Management: Change the file name

• Shutter Type: Mechanical

• Auto Review: Off

• Group Display Mode: Off

• Live View Settings: P-A-S-M unless I’m shooting with flash

• Connectivity: Off by default

• USB Settings: USB Charging on and USB Mode is Select

• Camera Settings: Customize Display Settings as needed

Once this is all polished, I make sure the Exposure Mode is set to Manual and save it over that first user profile. This is the master template for every specific configuration that follows. It is the solid ground you build the rest of your creative house on.

User Profiles

In my opinion, User Profiles are the most underrated weapon in the Leica arsenal. They allow you to customize the camera at a granular level and save those settings for instant recall. If you’ve followed along, you’ve seen the groundwork we’ve already laid. I use that foundation to build specific profiles I can jump between based on the environments I shoot in most. Here are the three photography profiles I rely on most:

STUDIO 100

This profile works double duty. I’ll use it for when I’m shooting with a flash or when I want revert to manual mode, where I have complete control over key settings.

• Mode: Manual

• Aperture: Wide-Open, F4.0 or F8.0

• Shutter Speed: 1/200

• ISO: 100

• White Balance: Based on the environment

• Exposure Compensation: -1/3

• Exposure Metering: Multi-Field

• Leica Look: Greg Williams

• Autofocus Mode: Continuos

• AF Detection: Face/Eye

• AF Mode: Field (ie. small box)

• AF Profile (under AF Setup): Children/Pets

BRIGHT 400

For bright days where the sun is beaming and the colours are popping, I’ll use this profile to lean into the vibrancy. Now, I’ve been enjoying the Teal Leica Look as my starting point.

• Mode: Manual with auto ISO

• Aperture: F8.0 mostly

• Shutter Speed: 1/500 or faster

• ISO: Auto ISO up to 400

• White Balance: Daylight mostly

• Exposure Compensation: -1/3

• Drive Mode: Continuous 4 FPS

• Exposure Metering: Multi-Field

• Leica Look: Teal

• Autofocus Mode: Continuos

• AF Detection: Face/Eye

• AF Mode: Field (ie. small box)

• AF Profile (under AF Setup): Runner

STREET 3200

I’ll use this profile when the lighting of my environment is fluctuating, where shadows can vary from point to point. It gives me a little more latitude to expose a scene, where a ceiling of ISO 3200 is perfectly manageable on modern Leica sensors.

• Mode: Manual with auto ISO

• Aperture: F4.0 mostly

• Shutter Speed: 1/125 or faster

• ISO: Auto ISO up to 3200

• White Balance: Daylight

• Exposure Compensation: -1/3

• Exposure Metering: Center-Weighted

• Leica Look: Greg Williams

• Autofocus Mode: Continuos

• AF Detection: Face/Eye

• AF Mode: Field (ie. small box)

• AF Profile (under AF Setup): Children/Pets

Importantly, these profiles are just starting points. I’ll select one and, if the environment requires an adjustment, I’ll tweak it on the fly. If you aren’t taking advantage of User Profiles, I genuinely need to know why. It’s a small investment of effort upfront that saves an ocean of time throughout the lifespan of your camera. Stop overcomplicating your process. Create User Profiles.

Video Settings

If you plan on shooting video with your SL, I highly recommend reading my Filmmaking Guide. It goes into far more detail regarding settings and best practices. Bookmark that page and read it when you are done here.

Once my three photography profiles are locked, I jump into video (swipe left in the Control Center to switch modes). I customize all the same pages and buttons to largely mirror my photo workflow. Here is my setup:

Custom Button Setup

• Top Left Fn: AF Frame Size

• Top Right Fn: AF Mode

• Front Top Fn: Dial Lock

• Front Bottom Fn: Toggle AF

• Centre Fn: EVF/LCD

• Thumb Wheel: Magnification

• Fn: Info Profiles

Control Center in Video Mode

• Exposure Mode

• User Profile

• White Balance

• Connectivity

• Focus Mode

• AF Detection

• Microphone Gain

• Video Profiles

With the other settings, I mimic my photo setup wherever possible. For Info Profiles, I create a fifth option with top and bottom bars and a custom frameline of 11.00 x 23.00 at 98 percent scale. I turn on shading and a frame stroke of 1. This allows me to preview a rough 9:16 crop while recording 6K footage for social platforms.

Before I share my two specific video profiles, here are the core features I adjust:

• Cine Mode: On

• L-Log Settings: L-Log -2 Sharpness

• Wind Reduction: Off

• Segmented Video: Off

• Recording Frame: On

• Image Stabilization: On when needed

User Profiles

With the core setup locked, I dial in the settings for two video-centric profiles: one for standard work and one for slow motion.

C6K

This is my go-to profile. It offers the best combination of colour and dynamic range without requiring an external recorder.

• Format: MOV

• Resolution: C6K

• Frame Rate: 24 FPS

• Codec: ProRes

• Compression: ProRes

• Color Sampling: 4:2:2 HQ 10-bit

• Bitrate: 1553 Mbit/s

• Log Profile: L-Log

• Sensor Ratio: 35mm

• Proxy: OFF

• Recording Options: HDMI / SSD / CFexpress

SLO MO 60FPS

The SL3-S supports up to 120 FPS in Full HD, but I prefer filming at 60 FPS with higher resolution and slowing it down in post-production. If a project requires something slower, I adjust accordingly.

• Format: MOV

• Resolution: C4K

• Frame Rate: 59.94 FPS

• Codec: ProRes

• Compression: ProRes

• Color Sampling: 4:2:2 HQ 10-bit

• Bitrate: 1944 Mbit/s

• Log Profile: L-Log

• Sensor Ratio: APS-C

• Proxy: Off

• Recording Options: HDMI / SSD / CFexpress

Wrapping Up

This guide is the culmination of five years of mistakes, triumphs, and the hard-earned rhythm of a system that finally works. It’s built to be a shortcut for your own journey, a way to strip away the technical noise so you can get back to the art. If this guide helped you find your footing, please consider sharing it with others.

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Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

January Contest

This month, I’ll be giving away a $250 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $250 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

Last fall, I mapped out the first six months of Church & Street stories and if you’ve been paying attention, you can tell it’s going to be a vibrant year for the newsletter. For subscribers, I’ll be widening the breadth of topics and share a series of intimate stories that really bring you closer to my journey.

It’s going to be a great year.

GB

I devoured this book in two sittings, eventually re-reading it and scribbling notes all over the margins. It’s an incredible memoir that I believe any active photographer will appreciate. Across 170 pages, Salgado takes us through his entire life, from his beginnings as a student of economics to the publication of Genesis in his later years. From having to leave his home country, to starting the photography career, balancing a family, surviving in tough conditions, the emotional toll of witnessing death, and even critiques on the medium, Salgado shares so much on his journey. It’s incredible.

This week, I’d like to share three lessons I’ve taken away from my time with this book. Three insights that have given me even more conviction in my own approach.

Photographers Act As Mirrors

There’s a moment in the book where Salgado’s spirit seems to jump right off the page. After chapters spent waxing poetic about the photographer’s journey, he finally confronts his critics with a fierce rebuke:

Read more

That’s the first thing I tell anyone in my workshops. It is a baseline: a way to kill the gear-lust and strip the mystique from the objects in our hands. We can appreciate the craftsmanship and the cachet, sure, but a camera is fundamentally a tool.

But that’s not the full picture.

Give a tool enough time, and it changes shape. It begins to take on new roles. Like a favourite piece of jewellery you feel naked without, a tool can become a talisman.

The Leica M11. It’s a tool. I’ve carried mine since the day it hit the streets. Four years. A quarter-million miles of putting it to work. In that time, it has evolved into something I never imagined.

I know that’s a lot of glaze to start with, but before you roll your eyes, hear me out. I believe the more you interact with a tool, the more it absorbs a meaning beyond its literal form. This camera? This tool? It has been through so much with me, that its become something else entirely.

Catalyst

There’s a honeymoon phase when you bring a new tool into the workflow. This natural excitement where you reassess everything you’ve done in the past and look to push further. But how long could that last?

For me, the answer was as long as possible. I was going to leverage every square inch of its capabilities to elevate my work and document the process along the way. I spent that first year pushing to be more intentional with my work, which resulted in one of my favourite portraits ever taken, The Schoolgirl. While any camera could’ve captured this frame, the M11 is what instigated this pursuit to go further.

By 2023, I realized that resolution and dynamic range could be much more than words on a page. They can be these technical assurances that allowed you to reclaim an image much later. An image like Headshot, which had so much contrast, literally and figuratively, that it would take me two years to find the frame that I was genuinely happy with.

Throughout the journey, the Leica M11 remained an unobtrusive partner, protecting delicate moments with its capabilities as much as its discretion.

In 2024, I looked to move beyond my creative safety net, exploring alternative compositions and textures. I’d try new lenses, study new artists, and explore the tangents of the photographic journey just to squeeze a little more out of this camera. This pursuit led to frames like this, where emotion was more at the heart of the experience than narrative.

By 2025, I was creating visuals with this camera that truly felt like a culmination of four years of deliberate effort. Like a chef that sees the final dish within the ingredients on the table, I felt like I reached a point where I could visualize the final frame before I took the picture.

The Leica M11 graduated from a piece of gear into a catalyst.

You see, I had already told myself that I wasn’t going to be another mediocre talking head on YouTube or Instagram feigning a lifestyle for the sake of an algorithm. I wanted to be great. When the M11 joined my journey, it became a catalyst for this deliberate and disciplined effort in striving for greatness.

The lenses, the image, the rangefinder, and hell, even the battery life, it all came together for this near-infinite source of accelerant that pushed me further, faster.

When I say the Leica M11 is more than a camera, what I’m saying is that it’s a unique product that, in the right hands, can feel larger than the sum of its parts. Now, this could be a natural end to the story, but I’m not done.

While the M11 is a catalyst for the ambitious, there’s another side to it. It’s a side that elevates the authentic and eludes the uninitiated. It’s something rarely discussed outside of those who actually carry one.

Key

This sounds crazy, but hear me out: the Leica M11 became a key for me.

Not to some khaki-clad boys club where people wax poetic about shiny objects. You don’t need a key for that; they’ll welcome anyone with a pulse and a credit card. I’m talking about a global network of creatives who actually celebrate the work.

The online stereotype of Leica being a playground for dentists and lawyers is a red Herring. While those blasé owners exist, talking about gear because their photos aren’t worth the conversation, they aren’t the heart of the brand.

Where other communities chase trends and thumbnails with a crab bucket mentality, the core Leica community is interested in fulfilling their best work and celebrating that of others. And I’ve been a direct beneficiary of this.

From the friends who’ve hosted me to the mentors who’ve guided me and even the students that hired me, this community celebrates the active storyteller more than any other.

Because a Leica is often cost-prohibitive, it sparks immediate curiosity among owners. If you have meaningful work to back it up, that initial curiosity can lead to meaningful conversations. And if you happen to not be a clout-chasing egomaniac, you inevitably tap into this network that’s happy to help you further your journey.

Carry a Leica. Chase greatness. And watch the doors open.

I know how pretentious that sounds, but it’s a reality I’ve lived and also shared with others. This camera isn’t just a catalyst. It’s also a key.

Filter

When the M11 arrived, it ditched the baseplate for a bigger battery and USB-C charging. This pissed off a lot of people. The early models had buggy firmware that would routinely require a battery pull. That pissed off even more people. Then came this magenta shift, which turned auto white balance into a target for manufactured rage.

For four years, the M11 has been a magnet for many detractors that believe Leica’s best days were behind them. And that’s just within the audience. Outside the bubble, critics piled on the lack of autofocus, stabilization, and even video. As a photographer who’s regularly contributing to the Leica discourse online, I’ve heard it all.

I won’t tell you they’re all wrong either because many of them had a point. The early bugs were real, and were swiftly addressed. White balance is something you can control and adjust, but it’s nice for users to now be able to tweak it at a more granular level. But here’s the thing, throughout this time, this camera has also become a filter for me.

As I learned the full breadth of it capabilities, as it demanded more out of me as a photographer, as I began to really understand what it meant, it helped me discern the bullshit.

It became really apparent when the rage-baiters were looking to illicit a response for relevancy. Or when the sycophants craved a gaze that their photography could never earn.

When you’re fulfilled by your work and the tools that bring them to life, you no longer react to the noise of incompetency. And the more I put this camera to work, year after year, the better it served as a filter for the attention-seekers on both sides of the aisle.

Antidote

Perhaps the most surprising transformation for me is how this camera has become an antidote to the times we’re all navigating now as artists.

We’re constantly bombarded by technology designed to make everything easier. These efficiency-seeking missiles aimed at our workflows in the name of productivity, and we go along with it because we’re told time is precious. You can never get back time. Time is everything!

We’re being lied to.

In the pursuit of squeezing out as much time as possible, we risk losing our humanity and the experiences that could go on to define our best work.

We’ve become too comfortable relinquishing meaningful work to algorithms, risking the transition from artist to glorified button pusher. We’re becoming hairless apes just tapping on glass. This isn’t a luddite’s argument against progress, but a plea to hold onto the archaic practices of the creative journey. Scribbling ideas on paper, digging through magazines, or manually focusing a lens. This is the cure.

The Leica M11 is a road less travelled. It demands more from you, and by rising to meet those demands, you elevate your craft. The physical nature of a rangefinder creates a feedback loop that deepens your relationship with the world around you. You aren’t just capturing context; you’re becoming part of it.

I’m reminded of Kurt Vonnegut, who preferred walking to the post office for a single envelope rather than ordering a stack of them like his wife suggested. For him, it was a chance to interact with people and entertain the dancing animal within him.

The M11 is serves as an antidote to this efficiency poison seeping into photography. It’s a middle finger to the auto-everything cameras that make life too damn easy. Those soulless boxes have their place. Hell, I own a few of my own. But I’m glad I can choose a tool that sits diametrically opposed to them. Something that lets me entertain that dancing animal.

When given the opportunity, I’m always reaching for my M11 first.

Passport

Here’s the thing: while this entire story was structured around the Leica M11, the truth is that it can ring just as true for any camera.

Every one of us, we are so varied and nuanced in our creative journeys that theres a plethora of cameras that become more than a camera for what we’re hoping to achieve. There’s countless examples of great artists that have made remarkable careers from humble instruments of creation.

That’s the beauty of this journey. As you explore it with deep conviction, the tools you rely on start to become more than bits of metal, plastic, and glass. They can transport you, across time and space, putting you on a collision course to transcend this border that separates good from great.

It’s with that in mind that at the end of any of my workshops, I’ll tell people: Cameras are passports and photography is time travel.

The truth is, I didn’t write this story to convince anyone to buy an M11 or to appease the Leica crowd. I wrote this to underscore the potential that lies within our tools. Whether it’s a camera, a lens, a keyboard, or a pen, there are these objects that if we interact with regularly and deeply, they become more.

Don’t look for a tool that makes the job easier; look for the catalyst that pushes you further. Find the key that unlocks a community that values your intention over your influence. Turn it into a filter that strains out the noise until only your authentic voice remains. Reach for this antidote that preserves your humanity against a rising tide of automated, soulless results. Above all, put in the work so this camera suddenly becomes passport into a new tier of creativity.

Because if you’re asking me, the right camera doesn’t just help you tell a story. It changes the person telling it.

Share

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

The BIG December Contest Winner

Congratulations to the winner of last month’s contest:

Alan G.

You’ll receive an email directly from me on receiving your prize. Enjoy!

NEW January Contest

This month, I’ll be giving away a $250 gift card to the Moment Shop where the winner can save big on their next camera, lens, bag, or courses. Moment has so many creative products to choose from and $250 can absolutely make for a great deal.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

My thanks to the team at Moment! Not only for this contest but for being the longest supporter of my work online. They’re a lean team of passionate creators that truly believe in supporting other creatives on their journey. Whether it’s a new camera, lens, workshop, or just some great articles, visit ShopMoment.com today.

Leave a comment

What’s Next?

I hosted my first studio photography workshop last year in Toronto, and students were blown away by the experience. It was two days of engaged material that’s designed to sharpen the skills of photographers in a studio environment.

Based on the feedback, I’m confident we have an experience that be taken all over the world. If you’re interested, I’d love to know where we should host the next one.

The goal of this workshop is to share a wealth of knowledge in a disciplined environment so that photographers can level up their studio experience. My last group was genuinely blown away by the amount of value that was shared. And I can’t wait to share that energy with photographers around the world.

GB

H…

Read more

Over the last twelve months, I’ve travelled nearly 125,000 km around the world. Today, I wanted to share some reflections on a few moments that stood out to me. And in a small way, reveal some wisdom from each experience.

Enjoy.

January

While visiting a tannery in New York, I bumped into two individuals who had to be the most stylish men on the block. I struck up a conversation, and within a few minutes, we had an appointment for a portrait session the following day.

Photography is an art, and art can’t exist solely in the presence of commerce. It’s a practice that demands effort. What I mean is that while some of us may lean on photography to earn a living, we can’t mainly rely just on transactional moments to practice the art of photography.

I’m always looking for every reasonable chance to practice my craft. Every opportunity behind the camera is an opportunity to sharpen the sword. And that sharpening shouldn’t happen only when I’m paid to do it.

The gentleman in the photo above, along with his friend, gave me an opportunity to practice my craft during the very same weekend I was introduced as the global ambassador for the Leica SL3-S. It was an immediate reminder that meaningful milestones are the byproduct of honest and intentional practice.

February

The following month, I found myself in Tokyo with a group of musicians to debut a music video I’d filmed the year prior. With a few days to spare, I roamed the streets to practice some photography purely for the joy of it. On one of those outings, I was absolutely floored by this individual.

“Take your art seriously, but don’t take life too seriously.” It’s a phrase I echo often, something I picked up from Bruce Gilden. This photograph captures that essence perfectly. Here stood an older gentleman living his best life, a spirit not unlike the individuals I’d met in New York earlier.

The more I travel, the more I encounter these reminders to never lose touch with who I am as a person. While it’s necessary to obsess over the work in the pursuit of greatness, I can’t let that consume my humanity.

March

Around four years ago, Pandora’s box was opened. Generative AI will eventually find its way into every piece of technology we interact with. You can choose to fight it, but it won’t be long before that feels like holding back a tsunami with silverware. Truthfully, I think it’s more appropriate to dance with AI. Whether we move with, passed, through, or alongside it.

I spent the bulk of March working through a backlog of images. As I reviewed some market shots from India, it became clear where my photography would stand as AI intertwines with the medium.

With generative AI getting better at faking reality, people are pivoting from inherent belief to immediate skepticism. Outside of increasingly narrowing environments, this creates a barrier between audience and artist. We now have to push through a protective shell to communicate a story. That push? The force that’ll make the process easier? It lies in the imperfections of visceral authenticity.

As I build my documentary work, I’ll be looking to capture scenes that feel lived-in with a hint of wonderment. And where possible, leverage a little motion and reduced sharpness to root the experience in time. At least, that’s the plan.

April

While on production in April, I really started to reap the benefits of spending over a year building a creative team. All those days of training passionate individuals had finally coalesced into a unit capable of executing at the highest level. That isn’t a revelation.

The real discovery was realizing how this work prepares them for what’s ahead in their journeys. I got to where I am because my reps and experiences compounded into a collection of unfair advantages. These are the very things that allowed me to find my market. The more I weave the team into my creative process, the more I help build their library of unfair advantages. And in a tiny way, setting the stage for the best work that’s ahead of them.

May

I’d been running a lean Leica kit for years, but by May, I’d acquired the key pieces to build a stable that covered the full scope of my work. However, this wasn’t a trophy or a gift. It was a responsibility.

These creative tools demand our best. To truly unlock their potential, we must deeply understand their capabilities. I started the month with a test shoot to put in the necessary reps, kicking off a pursuit to extract greatness from these tools. It’s much like a chef wielding their favourite knife. The blade doesn’t create the masterpiece. It requires a disciplined hand to make the cut.

Every camera. Every lens. Hell, even the software. It all feeds into a lifelong process of constant learning. This doesn’t just arm me with the knowledge to extract the best performance from my gear. It sets me up to share those valuable insights with you. Win-win.

June

At the end of June, I joined a group of photographers invited to the 100-year celebrations at Leica headquarters. It was an incredible experience that you can read more about here. But what I reflect on most is the sheer serendipity of it all.

For example, I never set out to meet Steve McCurry in my life, even though his work has been incredibly influential in my journey. Yet, simply by following the path I was on, I found myself sitting across from him one night, exchanging stories and portraits.

You can’t force these things. The best moments are often the ones you never expect. It brings to mind the words of Super Bowl MVP Jalen Hurts, “Keep the main thing the main thing.” For me, that means focusing on the photography with intention. If I can continue to do that, everything else eventually finds its way.

July

In July, I got my hands on some early rolls of Leica Monopan 50. It’s a black and white film I wrote about last year. In the process of putting that story together and testing the film in a multitude of situations, I managed to burn some holes in my Leica M6 shutter curtain.

After forgetting I’d removed my red filter and pointing a wide-open lens at the sun a little too long, I was left with two small burns in the curtain. This served as another reminder that in the pursuit of meaningful work, there are bound to be setbacks.

Here’s the thing, I try to view these moments with curiosity looking at an unexpected reaction in the lab. “How do we move forward?” Asking “what if” and shift from an emotional reaction to an inquisitive one. This helps to remove the emotional energy behind setbacks and allows me to focus on actionable items. It’s a small thing, but this is where the real lessons are found.

August

Toward the end of summer, I found myself in a helicopter soaring high above the glaciers of West Greenland. It was part of a story I was putting together about the first 35mm film camera used to document this region. It was within this process that I really found a rhythm for writing about big concepts from small slices of history.

There’s an infinite amount of inspiration around us. It’s happening all the time, and perhaps more importantly, it happened on a monumental scale long before we existed. Harnessing that requires patience. It requires the discipline to look past the bark of the individual tree and finally appreciate the ancient forest that surrounds it. See the forest from the trees.

September

In September, a small group of Leica ambassadors were invited to join the brand in Italy to preview the Leica EV1. Alongside members of the press, we spent a few days exploring the Italian countryside and trading stories. These moments are rare, and I’m grateful to have been a part of the experience.

It highlighted a vital truth about the creative journey. We often get caught up in the chase for growth, treating our portfolio like a high score that needs to be beaten. But growth is an arbitrary metric; community is a lifeline. There’s an immense power in finding the people who speak your language and share your obsessions. Growth might open doors, but it’s your community that makes the room worth staying in.

October

After years of planning, I finally had the chance to attend the Dussehra festival near the southern tip of India. While the spectacle was what drew me to the region, I quickly learned that the heart of the story lay within the community that travelled there year after year.

Traditions like this possess a grand aura to them but we can’t lose sight of the people who give these rituals meaning. They are the custodians of history. It’s a powerful reminder that the past isn’t just a memory we leave behind. It’s the blueprint that informs our future.

November

I’ve always known that teaching would be a cornerstone of my creative journey, and last year is when it truly took shape. From local meetups to workshops in remote corners of the globe, I was able to distill years of experience into meaningful moments for the community. While specialization often leads to great work, I believe a meaningful pursuit is just as important. If not more.

I’ve realized that making myself available to my community isn’t a secondary task to squeeze in when time permits. It’s a discipline in itself. I look to bring the same level of focus and intention to teaching as I do to photography. There’s a unique growth that comes from articulating your instincts to others. By committing to these shared experiences, I’m not just helping others find their eye. I’m refining my own.

December

Last month, I visited the town of San Pedro in Belize. Alongside a group of artists, we offered our support to an underserved community, looking to learn how we could best help the youth there. During that time, I witnessed our artists creating beautiful murals across the island. One artist, Floyd Mendoza, absolutely stupefied me with his speed and detail.

While prepping his wall, he threw on a pair of VR goggles to lay down the outline. It’s not something he usually does, but with only a few days to finish, it was a necessary step. In that moment, I saw technology intersect with the decades-old art form of graffiti, creating a process that fundamentally shifts how we approach our work.

The future guarantees a heavy dose of change and uncertainty. It’s easy to look at that shifting landscape with apprehension. But if you look closer, there’s a world of opportunity waiting there. When we embrace new techniques, we aren’t just speeding up the process. We’re unlocking entirely new ways to tell our stories.

Share

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

The BIG December Contest

If you’ve been hanging around Church & Street for a minute, you know December means it’s time to go big. And this is hands-down my biggest giveaway yet. Here’s all the goodness one lucky person is taking home:

• $500 Gift card to Moment

  • What’s a Church & Street party without my pals at ShopMoment.com? This year, we’ve decided to stop messing around and just drop a $500 Gift Card straight into someone’s account. Go nuts. Treat yourself to all the gear.

• Espresso Pro Display Kit

  • You know I drag my Espresso Display everywhere. And since I can’t stop talking about how essential it is, I put together the ultimate travel bundle so one of you can upgrade your adventures and stop hunching over a tiny laptop screen. One winner will receive a 15” Espresso Pro 4K display, Stand+, and Nylon Case.

• 8x10” Print of Two Wolves

  • This is my personal favourite. Two Wolves was, without question, my best shot of 2025. This image won’t even be available for purchase until next year, but one of you gets to own the first print.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

Leave a comment

What’s Next?

I just wanted to take a moment to thank you for being a reader of Church & Street. Whether you’re new here, or have been following along for years, I truly appreciate the support. And I look forward to sharing an incredible year of stories ahead.

GB

You see, the goal of this community is to serve photographers and creatives with information and experiences in a meaningful way. As the About Page suggests, this includes interviews, workshops, meetups, and of course, this newsletter that sits at the centre of it all. But there’s one thing I’d like to add to offerings today. Something that looks to give you the opportunity to take more ownership with this community.

Introducing The Challenge

Starting now, even with 2025 almost in the books, I’m going to challenge you to do a little work. My goal is to curate simple, meaningful tasks designed to nudge your photography forward and connect us through some collective heavy lifting.

If my years of mentoring have taught me anything, it’s that you can spot the real players the moment you give them a job to do. While the armchair experts are still checking the weather, the hungry ones have already grabbed their gear. I’ll be doing these challenges right alongside you, mostly to see who’s actually paying attention and who’s just here for the vibes.

Will you join me?

You Have Two Weeks…

I’m challenging you to print at least five of your photographs and put them in a travel-friendly album before the year is out. It’s that simple. Whether it’s a folder on your phone or a project on your computer, find five shots, print them, and stick them in a book.

It doesn’t matter if you print them at home, at a local shop, or through an online service. We aren’t looking to overcomplicate the process. The task is to pick at least five favourites and bring them to life in a physical way.

Far too many of us let our photographs die behind a screen. I built a robust home printing setup five years ago, but the printer eventually developed a mind of its own. No matter how much I tinkered, it refused to print images perfectly straight. My printing habit faded because I just wasn’t happy. It wasn’t until last October that I found a reliable solution: a professional lab.

When I connected with Eric at Digital Silver Imaging, I was reminded by how much I enjoyed having my own prints around the office, not just photo books by others. I’ve already sent his team some selections. While they specialize in archival prints for galleries and museums, they’ve launched Value Prints for keepsakes and curating that are extremely affordable. After seeing what they did with my test prints, I decided to stop fighting my home printer and let the professionals handle it.

We photographers, we’re often like the world-class chef who spends all day prepping Michelin-starred meals only to go home and eat a bowl of cereal. As photographers, we preach the importance of print but let our own work languish because of schedules or perfectionism. We’ll procrastinate until everything is just right, which usually means nothing ever gets done.

No more. I’m challenging myself to make these physical mementos a priority again. When my prints arrive, they’re going into a Profolio book that’ll serve as my portable portfolio. My work takes me around the world, and lately, I’ve found that Instagram has become the default way I show people what I do. I want to change that. I want to return to the habit of carrying a physical book.

This is the challenge for both you and I.

Share

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

The BIG December Contest

If you’ve been hanging around Church & Street for a minute, you know December means it’s time to go big. And this is hands-down my biggest giveaway yet. Here’s all the goodness one lucky person is taking home:

• $500 Gift card to Moment

  • What’s a Church & Street party without my pals at ShopMoment.com? This year, we’ve decided to stop messing around and just drop a $500 Gift Card straight into someone’s account. Go nuts. Treat yourself to all the gear.

• Espresso Pro Display Kit

  • You know I drag my Espresso Display everywhere. And since I can’t stop talking about how essential it is, I put together the ultimate travel bundle so one of you can upgrade your adventures and stop hunching over a tiny laptop screen. One winner will receive a 15” Espresso Pro 4K display, Stand+, and Nylon Case.

• 8x10” Print of Two Wolves

  • This is my personal favourite. Two Wolves was, without question, my best shot of 2025. This image won’t even be available for purchase until next year, but one of you gets to own the first print.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

Leave a comment

What’s Next?

For the annual subscribers of Church & Street, I’ve already placed an order with Digital Silver Imaging for your 5x7” Limited Edition print. This version will never be available for sale. It’s the photographic equivalent of a secret menu item: strictly for the inner circle.

The package is sitting at a sorting facility in New York at the moment. As soon as they arrive, I’ll be signing and shipping them out. Thank you so much for your continued patience.

GB

I’ll be sharing more details about this assignment soon. But today, I want to share an overview of the loadout I packed to document the story as it unfolded.

Choosing the Right Bag

There’s no shortage of camera bags in my stash, but I wanted something new that combined three things none of my current pieces had:

• Rugged outer lining that could thrive in messy conditions

• Quick access to my gear (ie. no zipper top slot)

• Modular system that could expand as needed

It’s a wish list that, surprisingly, doesn’t have a lot of quality options. However, I managed to find one manufacturer that ticked all the boxes.

The Wotancraft Pilot 7L sling is a well-designed, lightweight camera sling made to be abused. It allows for easy access to my gear and integrates a Molle system to add attachments for longer shoot days. I still had a healthy amount of skepticism because bags are such personal things for working photographers. It’s like choosing a pair of running shoes. If the fit is wrong, it ruins the whole experience. But after a week in the field, this sling turned out to be a fantastic solution for tough conditions.

Anyone who knows me knows that I like having nice bags for the different trips and projects. With the Pilot, I wanted to trade a little form for function. I can’t say if it’s the right bag for you, but what I can say is that this is the sling I’ll be carrying with me into the toughest environments. Especially when the bag is at odds with the elements.

Packing for the Story

The story I was chasing revolved around a very specific building. I won’t get into the specifics here, but the location was just as much a character in my assignment as the people it sheltered. It’s with this in mind that I opted for a Summilux 21mm as the main lens to establish the scene.

Given that we’d be navigating tight spaces and changing light, this lens would serve as the linchpin of my kit. The added benefit of this lens, something that avid readers here will know, is that it has a special way of placing people into the scene that feels enveloping without feeling unnatural. This Summilux was an easy choice for this story.

For an in-depth look at what this lens can do, read my long-term review.

I reached out to the Leica USA team to pair this lens with the new Leica M EV1. Having spent a little time with this camera, I knew that it’d make for a reliable tool for this assignment. Being able to see the full composition of a 21mm lens and focus accurately at wide apertures meant that I’d enjoy a higher hit rate in the field.

Now, I needed a second perspective to complement my primary solution. Ideally, it’d fill some gaps to make the overall experience easier. That’s why I packed my Leica Q3 43. With this, I could punch into details, leverage autofocus to shoot one-handed, and lean on the macro mode and crop options to really play with distance.

These two bodies are plenty. If everything went as planned, they’d compile the bulk of the storytelling for this assignment. But to really feel like I was prepared in the field, there were a few accessories that I had to keep with me, especially if things got challenging.

Rounding Out the Solution

The Pilot Sling has an integrated Molle system to attach additional packs as needed. It’s one of the key reasons I opted for this solution. With this, I could squeeze in a few more essentials.

First, I packed four additional batteries: two for the M and two for the Q. The days would be long and I didn’t want to find myself chasing plugs like Di Caprio in One Battle After Another. No, I was going to start each day with six batteries at my disposal.

Next, I threw in a cleaning kit comprised of a blower, cloth, and liquid solution to keep my glass as pristine as possible in the field. Great ingredients deliver a better edit. I’ll never leave for an assignment without these prerequisites.

I also packed a DJI Osmo Pocket 3 and DJI Mic. Video was not the focus for this assignment, but given the breadth of what was transpiring, I wanted to have a solution at the ready in case I wanted to create a motion-based story. This kit makes for a powerful storytelling device, especially when you feed the sensor light.

Last, I packed a small kit of essentials to round out the bag. This included cash, gum, pen, notebook, multi-tool, and a plastic bag in case things got wet.

The beauty of the Molle system is that I could scale up or down as needed. For long, unpredictable days, I could bring everything I needed. For quick bouts or specialized stories, I could trim down to just the necessities.

Just In Case

The two camera bodies along with key accessories round out the Pilot for a manageable daily carry. It isn’t too heavy, yet it’s plenty to build out the story I was hoping to develop. But if you know anything about me, it’s that I’m always planning contingencies. So there are two more pieces that I packed in my carry-on in case I needed to call an audible in the field.

The first is a backup camera, in case one of my bodies failed in the field. For this, I packed my new Leica SL3 Reporter with the SL 28-70mm F2.8 lens. I’d lean on this in the event that one or both smaller cameras faced some obstacles in the story I was chasing. Along with a variable ND filter, this camera could also serve as a robust video solution should a surprise opportunity arise.

Next is something that is admittedly a little crazy, but it’s a lens I have always wanted to test out. The team at Leica USA sent over a Leica Summilux 90mm F1.5 for the M EV1. This lens is perhaps the optical equivalent of mounting a precision telescope on a pistol. It’s large, it’s excessive, and it’s capable of results that are simply astounding. I’ll always pack a 2nd or 3rd wildcard lens in my trips for the opportunity to create something really special. It just so happened that this time, it’d be the most coveted lens in the M lineup.

The Final Kit

While this still represents a substantial amount of hardware, it’s the lightest loadout I’ve traveled with for work in a very long time. Here’s a quick recap of everything:

• Wotancraft Pilot 7L Sling

• Leica M EV1 + Summilux 21mm F1.4

• Leica Q3 43

• Batteries

• Cleaning kit

• Essentials

• DJI Osmo Pocket 3 + DJI Mic

• Leica SL3 Reporter + 28-70mm F2.8

• Leica Summilux 90mm F1.5

With every assignment, I try to distill my kit down to the tools I am actually going to use. But the paranoia of disaster planning is always nudging me to bring just a little bit more. It’s a discipline I’m sure I can improve. However, I’d rather suffer the weight of being over-prepared than the agony of being caught short. With this kit, I had everything I needed to confidently focus on the story in front of me.

Share

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The 7 Books That Changed My Photography Journey

• Why ‘Getting Closer’ Still Hurts

• The Leica M11 Explained in Three Photos

• 28mm, 35mm, or 50mm: What Does Your Brain Actually See?

• WTF Are Light Ratios and Why Should You Care?

• Mastering Tethered Photography

Visit the archive

The BIG December Contest

If you’ve been hanging around Church & Street for a minute, you know December means it’s time to go big. And this is hands-down my biggest giveaway yet. Here’s all the goodness one lucky person is taking home:

• $500 Gift card to Moment

  • What’s a Church & Street party without my pals at ShopMoment.com? This year, we’ve decided to stop messing around and just drop a $500 Gift Card straight into someone’s account. Go nuts. Treat yourself to all the gear.

• Espresso Pro Display Kit

  • You know I drag my Espresso Display everywhere. And since I can’t stop talking about how essential it is, I put together the ultimate travel bundle so one of you can upgrade your adventures and stop hunching over a tiny laptop screen. One winner will receive a 15” Espresso Pro 4K display, Stand+, and Nylon Case.

• 8x10” Print of Two Wolves

  • This is my personal favourite. Two Wolves was, without question, my best shot of 2025. This image won’t even be available for purchase until next year, but one of you gets to own the first print.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

Leave a comment

What’s Next?

Planning is well underway for next year’s events and workshops. If you have a suggestion for what city I should bring one of my classes or meetups, be sure to let me know in the comments of this post.

GB

Photography has its own version of that edge. The 21mm lens tempts the fearless, rewards the disciplined, and gives its best results to those confident enough to play right at the limit.

What Makes This Lens Special?

The secret to what makes the Leica Summilux 21mm lens such a potent storytelling tool lies in its ability to place the viewer in the scene. Because of its unique angle of view and high-quality glass, you have a lens that creates a natural perspective that rewards photographers who are willing to get close to the story. And I mean really close.

What takes this lens even further is its wide aperture paired with such a wide perspective. The result is something you just don’t encounter often in the photography world. When you add the exaggerated falloff in sharpness and contrast from the plane of focus—the signature of Leica Summilux lenses—you have something that creates compositions impossible to replicate with standard wide-angle lenses.

In a nutshell, that’s what makes this lens a powerful tool. But there’s so much more to the story. To fully appreciate what this lens can do, let’s examine why you’d reach for a 21mm lens in the first place, discuss what Leica’s 21mm brings to the table, and ultimately, decide who should consider adding this specific lens to their kit.

Why Choose a 21mm?

Now, considering a near ten-thousand-dollar lens for our photography is a gamble. So before we talk about optics or image quality, we need to address the whale in the room: why is a 21mm lens valuable in the first place?

The value of this perspective lives in both the science and the art.

Let’s start with the numbers. At 21mm, you have a diagonal angle of view typically at 90 degrees. Why does that matter? Because this is the visual edge of the wide-angle world. Beyond this point, you drift into ultra-wide territory where the growing angle of view starts to bend and twist the environment in ways that move against human perception. Things look distorted. The science tells us that 21mm sits at the limit of what feels wide without feeling unnatural.

So what does the art tell us?

Think of the masters of wide-angle storytelling. How do they use perspective to elevate a moment? Legends like Sebastiao Salgado and Mary Ellen Mark relied on this broader perspective to establish a scene and place the viewer right inside it. Their images felt lived in. Contemporaries like Alex Webb use layers to pack a frame with information and invite the eye to swim around the story. And in cinema, the lesson becomes even more powerful.

Roger Deakins leans on the wide angle to build atmosphere and mood. Kubrick uses it to drive immersion and push depth so far that the frame almost becomes a character. The right wide angle can pull emotion out of a scene that a longer lens may gloss over. In the hands of a great artist, the wide angle is not simply a lens. It’s a feeling.

Bringing this back to the 21mm focal length, you start to see why this tool can be so valuable for our photography. At the widest edge of what still feels natural, you can establish a scene with conviction. You can place your viewer inside a moment instead of outside looking in. You can build depth with layers that feel intentional. You can pull atmosphere out of ordinary environments without drifting into distortion. And perhaps most importantly, you can push yourself into tighter spaces and create a sense of intimacy with your subject that longer lenses simply cannot match.

For the active photographer, once you understand the power of a wide angle, especially one sitting right at the threshold before things seem unnatural, it starts to feel less like a gamble and more like a calculated bet. If you want to learn more about what makes the 21mm focal length special, you can check out my previous story here where I dive into more of the science.

Now that we understand why this perspective can be valuable, let’s dive into Leica’s Summilux offering and see how it holds up for such an opportunistic field of view.

Built for the Bold

Good things take time, and it took 83 years from the first production Leica camera for the first 21mm F1.4 to come into existence. That’s largely because of the technology that Leica required to bring a lens like this to life. From the aspherical elements to the advanced coatings and even the computer modelling, there was so much needed to create this lens.

Compared to a 28, 35, or 50mm lens, wide-angle lenses that contain a large aperture are much more prone to aberrations that need to be corrected. This correction process generally increases the size and weight of a lens. And as you look to scale the volume back down, you have to create more complex solutions to land at a reasonable size. But that’s exactly what Leica has done here.

The Leica Summilux 21mm F1.4 is just over 7cm from the front to the rear element. At 580g and with a hood that could swallow a deck of cards, this lens sits toward the larger side of the M glass family. However, it’s still a wonder when you consider how advanced the performance is.

Inside this lens sit aspherical elements that are precision-crafted to deliver a generous amount of sharpness when photographing wide open. There’s a floating lens element inside that moves as you focus the lens. When I asked the team at Leica about this, they explained that quite simply this helps to keep the optical performance at a high level across the whole focusing range.

There are 10 elements housed inside this Summilux. The front and rear elements are these bespoke designed aspherical elements that help to correct aberrations, especially toward the outer fields of the frame. What elevates this performance was the new-at-the-time technology in the form of an aspherical doublet, a process where an aspherical element is cemented to a spherical element. The unique measuring process and extremely tight tolerances meant that this lens could perform exceptionally well for its size. How well? Well, the distortion on this lens lands around -2%, meaning that it’s practically imperceptible in your photography.

The Summilux 21mm was designed to be this high-performing lens from the start, but not something that would be sterile and soulless. What elevates this lens to generational territory and arguably allows it to command such a high asking price is the look that it deals.

Dealer’s Choice

There’s no shortage of F1.4 lenses in the photography world but few strike the jackpot feeling of a Summilux. I’m sure this will come across as hyperbolic fan-service to those outside of the Leica space, but indulge me for a second as I elaborate on what makes this F1.4 so unique.

The secret lies in the departure from clinical results. You see, the glass here is designed in a way where images captured wide open have this expected sharpness at the plane of central focus, but then this exaggerated falloff in sharpness and contrast as you move away from that point of focus. The result is a photo with marginally more depth and character.

In a world where most wide-aperture lenses have this predictable falloff and bokeh, the Summilux line looks to deviate from the norm to create something that feels truly unique. It’s not hard to find an F1.4 lens that’s sharper than a Summilux. But you’d be hard-pressed to find one that delivers this much depth.

The advanced design and distinct visual signature make the Summilux 21mm a singular tool for street, documentary, and environmental portraiture. When you factor in where a 21mm focal length really shines, you can create images that feel different without feeling unnatural. For those that push closer to the story, the images deliver a feeling like you are in the scene. And that’s just an incredible storytelling opportunity for photographers.

Wide-angle lenses are prone to vignetting and this lens is no different. However, the 6-bit coding on this lens allows the camera to imprint some metadata on the raw file. This means you won’t have too much correcting to do once you have downloaded your images into your editor. That being said, stopping down to F2.8 will pretty much eliminate any vignette from your raw file.

For those looking for maximum sharpness across the frame, perhaps for reportage, architecture, or landscapes, shooting at F5.6 will give you optimal results with a healthy amount of depth of field. Personally, I find myself jumping between F1.4 and F8.0 with this lens.

I’ve had this Summilux for the last eight months and brought it to over a dozen cities around the world. There were times when it never left my camera. There were other times when I never reached for it at all. As I look back, the utility of this lens really came down to whether or not the scene in front of me was something I wanted viewers to be a part of. There are so many environments and genres where a lens like this could be great, but ultimately your proximity to the action is going to decide whether or not your images have something special to them.

But when I could get close, and the scene was overflowing with layers, the results felt simply incredible.

This may be the third Summilux lens in my collection but it’s the first one that felt like it was putting people in the places that I was. Nothing speaks to this more than my time at the Dussehra festival that took place toward the southern tip of India. Traditionally, I woul’ve leaned on my 28mm Summicron to tell a cohesive story about this event. But with this 21, I get to pull people right into the chaos. And do it in a manner where you can appreciate every drip of sweat and wisp of fire.

When you spend a healthy amount of time shooting with this Summilux lens, you’d have a hard time believing that it first hit the market over 17 years ago. But that just goes to underscore the staying power of a meticulously designed product that prioritizes quality and depth.

That being said, it has been a long time since this lens was first released. So, if Leica were to upgrade this product what could they do to create the best Summilux 21mm possible?

Stacking The Deck

For me, there are four clear ways to improve what this lens offers to photographers. First, we borrow from the trend that w’ve seen in recent M lens updates. Introducing close focusing of 30 or 40cm to this Summilux would make for an incredible upgrade. While challenging, it would significantly enhance the look that you can achieve with this perspective. And with the new Leica M EV1, taking advantage of this focusing would be easier than ever.

Next, I’d love to see a focus tab added to the lens to elevate the overall experience. It’s not hard to focus this lens and given the wide angle, range focusing isn’t tricky. But the inclusion of a focus tab would just make the tactile operation feel a bit more polished.

I love the hood that is included with the Summilux 21mm and for the love of all things Leica, I do not want to change this to a built-in hood. However, I’d appreciate a small change where the hood could split into two pieces so the user could insert a 52mm filter of their own. Right now, you need to purchase a drop-in attachment accessory. It’s clever, but I’d prefer something more accessible.

Last, and I may be alone in this, but I would appreciate Leica including a 21mm viewfinder with the purchase of a Summilux 21mm lens. As Leica shooters know, you can’t view the frame lines on a lens this wide so you have to use the back of the camera, a Visoflex, or a dedicated viewfinder to frame with this lens. Unless of course, you’re shooting with an M EV1. Personally, when I look at the whole customer experience, I believe that a dedicated viewfinder should be included. But let me know if you feel differently.

There are some ways in which this lens won’t get much better, and they may prove to be dealbreakers for some users. Most notably, this is a lens that demands a lot of the photographer. It’s not something that makes photography easier, even though the F1.4 might imply that. You have to work to get great results and that’ll push some people away.

There is also the size of this lens. Relatively speaking, it’s a chunky one and it obstructs a good amount of the rangefinder. That makes for an experience that just narrows the audience, given that much of the appeal of an M system lies in how compact and nimble it is.

Lastly, there’s the price. At well over $9,000 USD, this is one of the most expensive lenses in the Leica M catalog. Because of the advanced optics, unique engineering, and strict tolerances, the Summilux 21mm is not a product that’s synonymous with affordability. This, perhaps more than anything, will be the bust card for many Leica shooters.

With all that said, let’s make sure to keep one thing in mind: just because this specific lens may not be for us, that doesn’t mean it’s not valuable for someone else. I’ve seen no shortage of people claiming that alternative lenses offer better value. And they are right. The price-to-performance ratio from budget-friendly glass is simply incredible. But to say that they can deliver what this lens is doing would be a lie.

Having tested several options, I can confidently tell you that there are different 21mm options for different needs. Not everyone needs a Summilux. In fact, most don’t. And it’s great that users have a some choices now. But to imply that there is a “Leica-killer” on the market, something that can do what this lens does, is simply disingenuous. And besides, if any of these manufacturers actually created a Leica-killer, they wouldn’t be in my DMs offering it for free.

Where Have I Landed?

Getting good at blackjack is a double-edged sword. When you’re good enough to count the table, well, you’re playing with fire and setting yourself up to get burned. That’s what it feels like to get intimate with the Summilux 21mm lens. In my time using this glass all over the world, I learned firsthand how great the payoff can be when you really understand what this lens can do. It’s a result so tempting that I’ve found myself in a precarious situation more times than I care to count. But like a shark who just doesn’t know when to quit, I keep coming back.

The Leica Summilux 21mm is a rare draw. It’s a lens that manages to be incredibly wide without feeling warped or gimmicky. Combining an ultra-fast aperture with that signature Leica rendering, it creates a natural, enveloping perspective that lesser lenses simply cannot replicate.

For those who have the courage to get impossibly close to the story and crave a tool that can make viewers feel like they’re in the moment, the Leica Summilux 21mm isn’t just a good bet. It’s the Ace in the hole.

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Disclaimer

If you’re asking me, there’s no such thing as a completely objective review, especially in the imaging world. As someone who continues to work with Leica products, it’d be dishonest to suggest I could remove all personal attachment to these tools.

That said, my review structure has always been the same: share what I enjoy, highlight what could be improved, and outline who I believe would benefit most. YouTube culture has pushed this idea of hyper-focusing on perceived flaws and arbitrary comparisons without actually sharing an opinion. I find this useless.

The truth is, most cameras are better than most photographers. The harder and more valuable task for a reviewer is to articulate who a product is best suited for rather than drone on about what it cannot do.

My reviews are designed to give real-world insights for people considering a product for their creative journey. My hope is to deliver that in a way that’s useful, honest, and yes, occasionally entertaining.

Finally, no review I publish is seen, edited, or approved by anyone other than me. That includes Leica and any potential sponsors. Everything you read here is entirely my opinion.

This Week’s Sponsor: Espresso Displays

I’ve been using Espresso displays for over a year, and they’ve become a staple in my workflow—whether as an extra monitor at home or my main screen on overseas shoots. The Pro series is built for creatives who care about colour, clarity, and portability.

You already know the perks of their new 15 Pro. What sets them apart even more is their customer support. Based in Australia, the team at Espresso is focused on building quality products and backing them with top-tier service. As you can see from their Trustpilot score and immediate response to concerns.

I only partner with brands I genuinely use and believe in. After a year of putting these displays to work, I can confidently recommend them to any creative looking for a high-quality travel monitor.

Use code GAJAN10 at checkout to save 10% on your first order. And if you do try one out, let me know how it goes. I’d love to hear about your experience.

Upcoming Events & Workshops

• Leica Akademie: Video for Photographers (Seattle)

  • In March of next year, I’m leading a three-day workshop for photographers who are new to video. Whether you’re looking to create short films, branded content, or simply elevate your visual storytelling, this workshop provides a practical introduction to filmmaking. Learn more here.

• Arctic 2026 Photography Adventure

  • In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.

• India: North & South Workshop

  • Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.

Previous Favourites

• The Simplest Way to Transform Your Street Photography

• The 7 Books That Changed My Photography Journey

• The ‘Holy Grail’ 50mm Lens

• Hotel Flash Photography with Celebrities

• What Do I Pack for Street Photography Overseas

Visit the archive

The BIG December Contest

Alright, loyal readers! If you’ve been hanging around Church & Street for a minute, you know December means it’s time to go big. And this is hands-down my biggest giveaway yet. Here’s all the goodness one lucky person is taking home:

• $500 Gift card to Moment

  • What’s a Church & Street party without my pals at ShopMoment.com? This year, we’ve decided to stop messing around and just drop a $500 Gift Card straight into someone’s account. Go nuts. Treat yourself to all the gear.

• Espresso Pro Display Kit

  • You know I drag my Espresso Display everywhere. And since I can’t stop talking about how essential it is, I put together the ultimate travel bundle so one of you can upgrade your adventures and stop hunching over a tiny laptop screen. One winner will receive a 15” Espresso Pro 4K display, Stand+, and Nylon Case.

• 8x10” Print of Two Wolves

  • This is my personal favourite. Two Wolves was, without question, my best shot of 2025. This image won’t even be available for purchase until next year, but one of you gets to own the first print.

How will I pick the winner? Make sure you’re signed up for this newsletter then leave a comment on at least one post from this month. I’ll be randomly picking one person, confirming they meet the requirements and contacting them directly before announcing the winner publicly.

As always, this contest is void where prohibited by law. Good luck!

Leave a comment

What’s Next?

Later this week, I’ll be sharing a story around the documentary photography kit I brought with me to Belize. I’m trying not to write more than two kit stories per year, but I feel like this one shares some valuable context for the story that comes afterwards.

Stay tuned.

GB

A quick search on YouTube and you’re hit with empty adjectives like cinematic, immersive, and epic. Reviewers are quick to praise this perspective for what it can do, but they offer about as much valuable context as instructions on a box of toothpicks.

Yes, this is a perspective that can look cool, but why is this focal length special? What makes it unique? And when should you use a lens like this? These are the questions I sought to answer after picking up a 21mm lens of my own.

I’ve spent the last eight months incorporating the Leica Summilux 21mm F1.4 into my work. I’ve put together a pretty robust review that’ll be published soon but this week, I want to clearly explain why a 21mm focal length is special, what makes it unique, and when you should choose this lens for your work.

Why 21mm? The Short Answer

The simple answer to why a 21mm focal length is special is because it houses a 90-degree angle of view that allows photographers to capture an incredibly wide perspective that still feels natural to humans. Because of the relationship between angle of view and distance, closing the gap between you and your subject can create frames that place your viewer directly in the scene. And it incorporates them into the experience without feeling artificial.

It’s the difference between watching an F1 car fly past on television and standing right by the fence as that V6 turbocharged hybrid engine screams by. One is observation. The other is this visceral assault on the senses. This is why 21mm is special.

Understanding the Angle of View

What gives the 21mm focal length its unique properties lies in the diagonal angle of view. The diagonal angle of view describes how much of a scene a lens can capture. Where focal length is a measure from the lens to the sensor, angle of view is the measure of the perspective landing from one corner of the sensor to the other. Quite simply, it’s the perspective being captured for any given lens relative to a sensor size.

Using the diagram above as a reference, you can imagine that the longer the focal length you’re using, the smaller the angle of view. In other words, less of the world is being captured across the sensor. Conversely, the wider the lens you’re using, the wider the slice of the environment being captured. So, why is this important to understanding what makes 21mm so unique? Because it occupies a specific sweet spot.

Most lenses at a 21mm focal length will have roughly a 90-degree angle of view on a full-frame sensor. Anything beyond 90 degrees and you’re entering ultra-wide and fisheye territory. That’s a perspective that creates an image which feels beyond reality because it’s not how we experience the world. It’s the visual equivalent of looking at your reflection in the back of a spoon. A high angle of view is enveloping. It overwhelms us with information and creates a story that feels distorted. That’s not to say it’s bad, it’s just different. Knowing why it’s different helps us to know exactly when to choose this perspective.

Now, what if we get narrower than 90 degrees? Well, we capture less and less of the scene and we begin to capture thinner slices of an environment. The result is something that compresses what our eyes see and creates something that feels more intimate, perhaps even voyeuristic. A longer focal length and lower angle of view creates an image that hones our eyes onto the details. It’s like looking at the world through a cardboard tube. Importantly, it can still feel natural because we are used to locking in on details in the real world.

So, what happens when you use a lens that’s right around 90 degrees? We’re creating an opportunity to fool the viewer. At this perspective, we’re right at the barrier where things can still feel natural. A great 21mm lens, one that controls distortion well, creates a perspective that feels like seeing the world with wide-eyed optimism, as if you just landed in a brand new land. Because of how far it sits from focal lengths like the 28mm and 35mm, it distances itself from observation and creates a genuine feeling of being in the scene.

You don’t see the heat, you can feel it.

When Does 21mm Shine?

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