Leica M11 Monochrom with 50mm Summilux ASPH II (close-focusing) review – The Use Case for a Monochrom.

Released in May 2023, the M11 Monochrom replaces the excellent 2020 M10 Monochrom. This review will not dwell on the not-useful discussion on price versus value but instead focus on how the M11 Monochrom improves on an already well-designed M10 Monochrom and how one can consider the M11 Monochrom in addition to one’s repertoire of photography tools.

Asked too often, “why do we need a Monochrom when we can simply convert a shot from a color sensor?”

Let me share more on why as we prod along.

We will skip the boring repeated discussions about price versus value. This is a Leica Monochrom camera, and unapologetically a camera not for everyone.

frankly, my wallet breaks into a fear induced rash seeing the price tag too.

tl:dr

The Leica M11 Monochrom is the purest embodiment of Leica’s minimalistic brand culture, a specialized needs-oriented photography tool.

I was blown away testing the M10 Monochrom back then, and the M11 Monochrom takes the standards even higher, not only image quality-wise but also in the overall performance of the camera itself. For one, the high ISO performance of the M11 Monochrom alone is unparalleled. A color-capable sensor will probably get you to ISO6400 before deteriorating, while the Monochrom’s sensor will simply shrug off a 5-digit ISO shot.

People on the fence need not apply, but for those in the know, the unparalleled reproduction of blacks and greys, down to the sharpest finest details in a camera that prides itself on seeing better in the dark than your own eyes await you.

5 key improvements in the M11 Monochrom versus the M10 Monochrom

Seldom explained in detail, and understandably so, the improvements from the M10 Monochrom to the M11 Monochrom are extensive, and here is just to highlight the top 5 key ones that really matter.

• True monochrome triple-resolution (60/36/18 MP) BSI CMOS sensor versus M10 Monochrom’s 40 MP non-BSI CMOS monochrome sensor.
  *BSI: Back-side illuminated sensors increase the amount of light captured by as much as 100% versus traditional CMOS sensors.
• Even greater ISO range, ISO125 to ISO200,000 (usable) versus ISO160 to ISO100,000 previously
  *Allow me to share a few >ISO 10,000 shots as we go along.
• Sapphire glass LCD at 2,330,000 pixels versus Gorilla-glass LCD at 1,036,800 pixels previously
• Built-in 256GB internal memory (now you can’t say you can’t photograph because you forgot your SD card)
• a 1800 mAh battery versus the 1100 mAh battery with a scratch-resistant matte black paint finish

Also, which is essential to me, a Mechanical shutter of 60 min to 1⁄4000 sec and an Electronic shutter that goes from 60 sec to 1⁄16000 sec

At this point, if you are keen, my M10 Monochrom and 35mm Summilux (Close-focusing) reviews are linked below,

Leica M10 Monochrom review, Leica 35 Summilux ASPH (close-focusing) review.

50 Summilux ASPH II (Close-focusing) key technicalities

• Minimum focusing distance at 0.45 meters from 0.7 meters
• 8 elements in 5 groups
• 11 aperture blades giving improved bokeh
• Overall glass thickness of 1.2mm, with an optical design optimised for the M11 and M11 Monochrom’s sensors.
• Integrated swivel hood

Design

As intended, the rangefinder design of the Leica M11 Monochrom ensures the user of a travel-friendly camera, the perfect handling size for a discreet street photographer.

In fact, during the review, I realized I could fit the M11 Monochrom, 50mm Summilux ASPH II, and the Ricoh GR IIIx in a very compact Wotancraft 3.5L bag with space left for, say, an iPad mini, wallet, and other camera accessories to spare.

The M11 Monochrom is only available with a matte black and aluminum top plate, keeping the weight down to 540 grams. Being an owner of the chrome (and brass) M10-R, I appreciate a slightly lighter setup, though, at times, I do pine for the beautiful brassing that, say, the M10-R black paint will provide as a testament to the passing of time.

The M11 Monochrom has the same fixed bottom plate as the original M11, with the removal of the base-plate design and 1 slot to access both the battery and SD card. One point I must credit is I do find the USB-C charging function available to the M11 and M11 Monochrom extremely convenient.

Finish and build-wise, there is nothing to pick, This is a USD9195 camera, and every corner of the M11 Monochrom is well-built with nothing left to chance. The viewfinder optics are bright and easy to see, even in the very low light conditions when I was shooting for this review. I also appreciate the relatively higher-resolution back LCD panel. I don’t like using the Visoflex and probably will never be keen to use one unless Leica gifts me one.

Performance and Images

Seldom mentioned or shown by other reviewers is the Monochrom’s unparalleled strength in high-ISO noise management.

Firstly, the M10 Monochrom’s 40-megapixel sensor, now upgraded to a 60-megapixel sensor, delivers excellent detail that some full-frame cameras envy. Moreover, for the users who seek choices, the triple-resolution sensor of the M11 Monochrom should more than suffice.

‘Sun-stars’ in late night without external light sources? Possible with the Monochrom, and the above shot was done at ƒ16, handheld.

In the Monochrom, with the removal of the need for Bayer interpolation — which most color-based cameras require — and the subsequent blurring that occurs, the M11 Monochrom simply provides sharper rendering than its color-able peers. When used with Leica M-optics, the M11 Monochrom will give the sharpest results than any other rangefinders Leica sells.

But sharpness and details rendition is only one component that makes an image. One essential improvement is the broader range of ISO values from ISO125 to ISO 200,000.

An use case for the Monochrom is how it basically takes high ISO shots in low light situations like a champ, shrugging off any concerns we would have if using a color sensor.

When using a non-monochromatic sensor, I believe most of us simply follow the approach of ‘the lowest possible ISO value’ as much as possible. Personally, I do not go above ISO 6400 on my M10-R. But with the M11 Monochrom, the use case is entirely different, where one does not need to bother with ISO values that much, simply because the monochrome sensor can achieve standards in two areas of sharpness and ISO performance which the color-able sensors cannot.

The rangefinder is for one to be discreet, and pared down to essentials; where for another system one might bring along a studio of flashes, you hardly need to for the Monochrom.

The shot above was done at ISO12,500, and I was able to show the layers in the image simply because the Monochrom allowed me to shoot at a smaller aperture of ƒ5.6 in this low light situation instead of the typical, say, ƒ2 I would have needed with a non-Monochrom sensor.

We all know image-degrading noise appears once we go above, say, ISO 800 and for some of us, becomes significant and unbearable at ISO 6400 upwards. Now, consider that black-and-white images render sensor noise as a pleasing, organic-looking grain structure, and the M11 Monochrom becomes an ideal low-light camera, even at very high ISOs, like the sample above shot at ISO12,500.

Post-Processing

One thing to note is that for the Monochrom models, since the Q2 Monochrom, M10 Monochrom, and now, the M11 Monochrom, I only work with the DNG files.

You will need to post-process the Monochrom’s files to fully maximise the potential of the images.

One thing that I need to clarify is that the DNG files from the Monochrom while possessing extreme amounts of processing latitude, will need processing done to achieve a gritty contrasty look. In fact, the original DNG files, like previous Monochrom models, are pretty flat straight out of the camera.

Try pulling the shadows of an ISO6400 shot from any other camera brand or even the M10 series versus the Monochrom’s files and you will know what I mean by processing latitude.

But is everything really perfect?

I was referred to the potential issue of ‘rolling shutter’ with the M11 Monochrom from a fellow Leicaphile, and I will honestly share that it is an issue. Still, it can be avoided entirely by using the mechanical shutter. Maybe Leica can find a fix for this one day, but this doesn’t bother me as I see it hardly likely for me to photograph high-speed in-motion subjects with the electronic shutter on the M11 Monochrom.

Seeing how Leica has provided firmware updates providing additional functionality beyond bug squashing unlike other brands that have stopped doing so, gives me faith that they will work on this.

Conclusion

I started the review by stating we will not discuss the too-often-asked question of price versus value. I have attempted to share what makes the Monochrom unique as a camera for the photographer who is clear on what they desire and seeks to achieve.

I started using rangefinders around 2019 and initially found the experience inefficient and confounding. It took years to learn the appreciation for using them, and now I really enjoy the experience as much as the sheer quality that the Leica M system’s images can bring.

A monochrom rangefinder takes this experience even further, expounding on the profound joy of photography with a ‘simple’ camera. The M11 Monochrom is an experience I will wish for any aspiring photographer to have because working with the limitations and yet, being able to harness the potential of photographing with one will surely and indeed aid in the growth of one’s photography journey and, for those already in the know, bring further joy to them.

addendum: The supposed ‘magic’ of black-and-white images

is that there is no shortcut to the magic. I find the numerous writings of black and white photos to be ‘special’ and allow one to focus on the ‘essence’; and thus, one needs a Monochrom more of a juvenile play at marketing than sincere advice.

I am not trying to diss the ones who have a passion or even purpose in monochrom photograhy, but to point out that this reason alone is a weak argument to qualify the ownership of a Monochrom camera.

After all, if this is the key reason, why not just set any camera in black and white JPEG and save yourself USD9195?

The photographer is the creator in control and will be able to decide whether, at the moment, a color or a monochromatic image will tell the story better. For example, in the case of a novice photographer like me, it is more important to learn from critique and grow toward being a more discerning photographer. While photographing in black and white will surely change the way you approach your photography, it is not a reason why you need to buy a Monochrom, and I hope this review will change the way people approach the considerations of owning a Monochrom by understanding what sets it apart as a photography tool.

Thank you for reading.

Disclaimers:

1. All product photos and samples here were photographed by me. I believe any reviewer with pride should produce their own product photos.

2. All images were shot with a production set of the M11 Monochrom and 50mm Summilux ASPH II, and all DNG files were edited in LR CC Classic to my preferences. 

3. This review is not sponsored; the M11 Monochrom and 50 Summilux ASPH II is a loan set from Leica AG Asia Pacific (Singapore). Many thanks to Mr. T S Sim for the arrangements.

4. I do not do affiliate purchase links to keep myself neutral. I write as a passion and a hobby, and I appreciate that photography brands are kind enough to respect and work with me.

5. The best way to support me is to share the review, or you can always help support me by contributing to my fees to WordPress for the domain using the Paypal button at the bottom of the page.