Leica M11 Monochrom, a Month of Black and White - Adorama Narrated

Adorama Narrated – Episode Summary

Episode: Leica M11 Monochrom, a Month of Black and White
Date: March 15, 2026
Host: Adorama Narrated
Written by: Daniel Norton
Read by: Nikki Haller

Main Theme & Purpose

This episode explores the unique experience and creative philosophy behind using the Leica M11 Monochrom—a digital camera that captures only black and white images. Daniel Norton recounts a month-long immersion with the M11 Monochrom, reflecting on how this camera transforms not just image-making, but also the photographer’s mindset. The episode delves into the allure of rangefinders, the technical and artistic merits of shooting monochrome, and Nordon's personal journey with Leica cameras.

Key Discussion Points & Insights

1. The Leica Monochrome Line: Why Black and White Only?

Introduction to the Leica M11 Monochrom:
- A manual focus camera that shoots exclusively in black and white (00:10).
- Not the first in its line—Leica has offered monochrome-dedicated cameras since 2012’s M9 Monochrom.
Appeal in Modern Technological Context:
- Contrasts the camera’s stripped-back approach with “million point autofocus” and “8K raw video” seen in today’s cameras (00:15).
- The appeal lies in a focused, tactile photography experience.
Experiential Justification:
- “This question is most easily answered by handing a shooter this jewel and they can see or maybe feel for themselves.” (00:33, Daniel Norton)
- Norton’s goal: to articulate the transformative impact of shooting only in black and white for listeners/readers (00:46).

2. Personal History with Rangefinders

Nordon’s Journey:
- Longstanding love for rangefinders starting with a Yashica Electro 35 GSN in the 90s (01:07).
- Progressed through various cameras, culminating in cherished Leicas like the M4P and M8 (01:29).
- Early adopter of digital cameras, but always drawn back to the feel and form of a rangefinder.
- Emotional resonance of equipment (“A camera has to feel right… things that don’t show up on a spec sheet.” (01:50))

3. The Artistic Power of Black and White

Vision and Planning:
- “Shooting black and white changes the way we capture images.” (02:19, Daniel Norton)
- Emphasizes intentionality: planning for black and white from the conception of a shoot, not “fixing it later.” (02:35)
- Encourages listeners to set a monochrome profile and “think in black and white” from the start (02:49).
Seeing Differently:
- Monochrome forces a focus on light, shadow, and texture; even mundane details gain significance (03:08).
- Rangefinders and the Leica brand’s documentary mystique influence how one moves through the world (04:05).
- The physicality of the M11 Monochrom encourages constant alertness and mission-driven shooting (04:46).

4. Technical and Creative Experience with M11 Monochrom

Build and Ergonomics:
- “The Leica is super well built and feels amazing in the hand… but I said it anyway.” (05:12, Daniel Norton)
Exposure Tips for Monochrome:
- Important lesson: expose for highlights in high-contrast scenes, sometimes underexposing by two stops.
- “The idea of underexposing the scene by two stops to keep the highlights blew my mind.” (05:40, Daniel Norton)
Dynamic Range in Practice:
- Monochrome sensor uniquely accommodates high contrast—pulling detail from shadows remains easy and noise-free (06:11).
- Practical anecdote: dark coffee shop with bright pastry lights—M11 Monochrom handled the extremes effortlessly, “with about 10 seconds of level adjustments in Capture One, I have a perfectly balanced image.” (06:50)

5. Sensor Advantages

Technical Edge:
- Monochrome sensors offer about one extra stop—double the light sensitivity—and natural sharpness (07:15).
- Absence of a Bayer filter enhances sharpness for those devoted to black and white (07:23).

6. Is Monochrome Enough?

Personal Take:
- “Could I live with just monochrome?” (07:38)
- For personal work: absolutely—the creative benefits outweigh the lack of color.
- Professional constraints (e.g., color required for Adorama’s lighting demos) necessitate a color camera (M11P also borrowed).
Dream Camera Status:
- “If any current model holds that position, for me, it is the Leica M11 Monochrom.” (08:12, Daniel Norton)

Notable Quotes & Memorable Moments

Theme Setting:
- “Why would anyone want to use a manual focus camera that singularly produces black and white images? Does such a camera even exist? Of course it does.” (00:14, Daniel Norton)
On Mindset:
- “Shooting in black and white changes the way we capture images.” (02:19, Daniel Norton)
On Tactile Connection:
- “A camera has to feel right—form factor, weight, vibe. Things that don’t show up on a spec sheet.” (01:50)
Exposure Learning:
- “The idea of underexposing the scene by two stops to keep the highlights blew my mind.” (05:40)
On Technical Merits:
- “Without the Bayer filter, the images are naturally sharper.” (07:23)
Ultimate Endorsement:
- “If any current model holds that position, for me, it is the Leica M11 monochrome.” (08:12)

Important Timestamps

00:10 — Introduction, background, and premise of the episode
01:07 — Daniel’s personal Leica and rangefinder journey
02:19 — On how black and white changes photographic vision
03:08 — Seeing differently: light, shadow, and the everyday
05:12 — M11 Monochrom build and handling
05:40 — Key exposure tactics for the monochrome sensor
06:11 — Dynamic range and practical shooting anecdotes
07:15 — Extra sensitivity and sharpness of the monochrome sensor
07:38 — Reflection on living with only black and white
08:12 — Final thoughts and dream camera conclusion

Summary Table: M11 Monochrom Experience

| Feature / Topic | Key Insight | Timestamp | |-----------------------------|---------------------------------------------------------|------------| | Black and White Only | Forces intentionality, changes how you see and shoot | 02:19 | | Tactile Experience | Inspires constant alertness, deep creative connection | 03:38-04:46| | Dynamic Range | Holds up to extreme contrast, easy shadow recovery | 06:11 | | Technical Merits | Extra sensitivity, natural sharpness, no Bayer filter | 07:15-07:23| | Limitation/Benefit | Monochrome only—fulfilling for personal/artistic work | 07:38 |

Final Thoughts

Daniel Norton’s month with the Leica M11 Monochrom is a compelling exploration of both technical and creative freedom found in black and white-only photography. Through practical tips and poetic reflection, he illustrates how such “limiting” tools can reinvigorate a photographer’s vision and process, making the Leica M11 Monochrom, for some, the ultimate dream camera.

For more posts like this, visit the 42 West blog at adorama.com.

Transcript

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You are listening to Adorama narrated a collection of our favorite blog posts, presented in audio format. Leica M11 monochrome a month of Black and White Written by Daniel Norton Published on March 12, 2026 in an age where we have million point autofocus that can pinpoint a bird's eye and 8K raw video, why would anyone want to use a manual focus camera that singularly produces black and white images? Does such a camera even exist? Of course it does. The camera that raises this question is the Leica M11 monochrome. Interestingly enough, this is not a new concept for Leica or a new question from those who discover this image making machine. Way back in 2012 I had the opportunity to work with the first in this line, the Leica M9 monochrome. This question is most easily answered by handing a shooter this jewel and they can see or maybe feel for themselves. As much as I would love to let each of you borrow the Leica M11 monochrome for an hour, a day or a month, this is not in my power. However, I will attempt in this article to explain why such a camera can and does change the way a shooter thinks about photography. A Bit of History the History of Daniel, Part 1 I am no stranger to Leica or rangefinders. I'm not just talking about the M9 monochrome or my beloved M8. Don't get me started. I've had a love for rangefinders since the 90s. It started with a beat up Yashica Electro 35 GSN, a fixed lens camera that taught me how quickly I could move from living life to making an image and back again from there. I worked my way through voigtlanders, Russia, screw Mount Leica clones, and eventually a well loved Leica M4P. I regret selling that one, but the business needed medium format at the time. Back around 1999 when the digital era arrived, I was an early adopter. I went through a few DSLRs, but none really held my attention. A camera has to feel right form factor, weight, vibe. Things that don't show up on a spec sheet. That philosophy led me to the Leica M8, which remains one of my favorite portrait cameras to this day, and back in 2012 to the original M9 monochrome, the first in this line. So when I got my hands on the M11 monochrome, I wasn't coming to it cold Black and White it may be cliche to say it, but shooting black and white changes the way we capture images. Not just in the if an image is bad make it black and white and call it art way. If you've read, listened to, or watched me speak on the subject, you know I don't love the fix it later mentality. Which means when I plan a black and white shoot, I do so from the second of conception, not a week later in capture one. I could write many articles about why, but instead I will challenge you next time you set up a shoot. Put the black and white profile on and think in black and white. You'll see what I mean. The rest of the fixing argument is for another article. Went a bit sideways there, but I think it's important to get in the right mindset if you are interested in the why of this machine. A Different Way of Seeing when we work in black and white, whether it be with film, a digital camera that can shoot color, or the Leica M11 monochrome, we think in pure light and shadow. Textures become our friend, and the mundane often takes on enormous weight. I'm often struck by interesting motes of light that seem to pepper the world, being ignored by most. When I take the time to capture these pools of ambiance, I I tend to find the quick snapshot with my phone to be just that. However, when I think in black and white and how this glow affects the environment, I am often rewarded with a more interesting image. An image truly about light and shadow. I feel a wise man once said, shooting in black and white changes the way we capture images. Oh wait, no, that was me a few paragraphs ago. That doesn't make it any less true though. Forces me to always be looking. Here's the thing. When I hold a Leica rangefinder, any of them, I start to think differently. There is something about the form factor, the weight of the metal body, and the connection this brand has with documentary and street photography. Somehow holding this camera with the shoulder strap wrapped around my wrist, camera held close to my body, almost hidden from all those, but the keen eyed, I feel like I'm on a mission. This is not some camera to leave in my bag till I need it, or one I only take out for a studio portrait. Though I love using a rangefinder in the studio, this camera is an active participant in my creative process, a tool that forces me to always be looking for the next tiny detail to immortalize. From hiking to taking the train home, no detail escapes me when I have a trusted rangefinder close to my hip. My Leica M11 monochrome experience okay, I've talked a bunch about rangefinders and Leica in general, and let's get down to this beauty. I feel like if I write that the Leica is super well built and feels amazing in the hand, you'd say, well, yeah, of course. But I said it anyway. When I shot the M9 monochrome years ago, I paired it with a standard color M9. I alternated between the two and it felt very much like the film days of carrying two bodies. This time I embraced the idea of shooting only in black and white for about a month. One piece of advice I was given was that due to the tremendous dynamic range and the fact that pure white is pure white, AKA no detail in monochrome, I should expose for the highlights in a contrasty situation. The idea of underexposing the scene by two stops to keep the highlights blew my mind. To be honest, my first time out, I shot on exposure and then, when possible, took a second exposure for the highlights. The second exposure was the way to go. In capture one, I had absolutely no problem pulling back the dark areas to a perfect midtone. Dynamic range and other tech stuff we hear from every new camera release how much dynamic range the new sensors have. This was the first time I've ever really put that to the test. My style of black and white shooting leans heavily into contrast and being able to embrace it was very freeing. Knowing that the camera could not only handle the range, but that the noise would be nearly non existent made shooting what I saw, what I felt easy. I'm including an example from a coffee shop I frequent. The shop is dark and cozy and the lights over the tasty pastries are bright. With about 10 seconds of level adjustments in Capture One, I have a perfectly balanced image. I'm not going overly technical here, but I want to add that the nature of a monochrome sensor is that you get about one extra stop, double the amount of light sensitivity. Also, without the Bayer filter, the images are naturally sharper. This means there is an advantage to a monochrome camera if what you want to shoot is monochrome. Could I live with just monochrome? Shooting with a Leica M11 monochrome was a pleasure. Thinking and working in light and shadow, feeling the weight and quality of the build. I admire the way the lenses draw an image. When I borrowed the Leica M11 monochrome, they gave me a rundown on the camera. One of the first things I was told was if you want to shoot color, this camera is not for you. That may sound super obvious, but I have to say the main pushback I have heard is just that it only shoots black and white. Yup. For my personal work and fulfillment, I could see myself with just this camera as my companion. However, I need color for my weekly lighting demos for Adorama. For that reason, I have also borrowed the Leica M11P. I feel like we as photographers often have a dream camera that we think would be the last we ever purchased. If any current model holds that position, for me, it is the Leica M11 monochrome. This has been Leica M11 monochrome a month of Black and White written by Daniel Norton. Read for you by Nikki Haller for more posts like this, check out the 42 west blog at adorama.com blog links are in the show notes. Be sure to follow Adorama narrated on your favorite podcast app and leave us a review if you enjoy the content. Remember, create no matter what.