Category: Life in Frames

Why I’m Shooting Black & White IN-CAMERA Now (Goodbye, Desktop Editing!)

nikon d700 with leica r35mm-70mm f3.5

For years, I’ve religiously shot JPG + RAW. When I wanted black and white photos, I’d always tweak them later in software. But lately, something’s changed.

I love the look of film simulations, but there’s a problem: coming back to edit digital files on a computer just kills the vibe for me. That moment of creation feels interrupted, almost… clinical. I’d capture a scene, then days later stare at a screen adjusting sliders. The magic? Faded.

So I’ve made a decision: If I want black and white, I’m doing it in-camera. Right there, at the moment of capture. No RAW safety net. No “I’ll fix it later.” Just me, the camera, and monochrome vision.

For now, at least – this is my experiment.

No more retreating to Lightroom for B&W conversions. If it’s a black-and-white kind of day, the camera’s film simulation or monochrome profile gets set before I even lift the viewfinder. It’s about trusting my eye in the moment and embracing what the camera gives me.

Is it risky? Maybe.
Will I miss some editing flexibility? Probably.
But does it feel more honest, more immediate, more… photographic?

Hell yes.

Let’s see where this takes me.

AIWA jx505 walkman

aiwa jx505

The AIWA JX505 Walkman is my favorite analog audio player, and it’s in great condition. However, I don’t use it when I’m out doing street photography—after all, it’s quite old. I prefer to sit indoors and listen to music quietly, where the warm, sunlit sound quality of cassette tapes becomes the perfect respite from my street photography adventures.

Light Rain is Summer’s Poem, JPG is the Camera’s Song

street photography

Summer’s greatest delight is a light rain – light yet silky, much like the tactile sensation a Leica lens evokes. I no longer wish to annotate my images with gear talk; I don’t even plan to categorize photos by equipment anymore. I want to streamline my photography, to make it simpler. I might even shoot only JPGs, relying solely on in-camera filter presets. To make photography feel lighter, just like this passing drizzle on an afternoon.

The Leica M8’s Built-In JPGs Are Actually Pretty Great

leica m8 with summarit 50mm f1.5

Okay, I’ll admit—post-processing can make photos pop with vibrant colors or punchy contrast that grabs attention. But, you know what? The more I look at heavily edited shots, the more I’m drawn to the simplicity of straight-out-of-camera images. There’s something about those less “in-your-face” JPGs—more natural, less flashy—that just feels so refreshing. The Leica M8’s built-in JPGs? Yeah, the white balance can be a bit off, and the colors might not be textbook perfect, but somehow, I can’t stop loving them. It’s like a little bit of magic.

A Leica Summarit 50mm f/1.5 Is Still a Leica, Even on a Budget

leica m8 + summarit 50 1.5

Let’s be real—sticking to your own path and not bending to please others is no easy feat. Leica’s big-aperture lenses, like the Summarit 50mm f/1.5, were kind of rushed into the ring to keep up with the heavy hitters from Zeiss, Canon, and Nikon. But even under pressure, Leica stayed true to its vibe. That signature micro-contrast? It’s still there, making every shot feel timeless and captivating, whether you’re using it on a film or digital camera. The Summarit 50mm f/1.5 might be one of Leica’s more affordable lenses, but trust me—it’s got that unmistakable Leica flavor, no compromises.

The Leica Elmar 50mm Is a Backlight Beast

leica m8 with elmar 50mm f3.5


Only a Leica Elmar deserves the name Elmar. It’s the OG of 135mm format, the pioneer of 135mm lenses, and forever the gold standard for 50mm. Take its backlight sharpness—even today, it’s pure artistic magic. No other 50mm can nail that mix of dreamy flare, misty glow, sharpness, and detail all at once. It’s like how your eyes feel in backlit moments. The most legendary 50mm lens? Yup, it’s the Elmar, hands down!

Is f3.5 Too Small for Street Photography?

leica m8 with elmar 50mm f3.5

Is an f3.5 aperture big enough? For street photography, I say it’s plenty! I often crank my Leica M8’s ISO to 1250, which gives a cool, film-like grain. Sometimes I shoot at f3.5, sometimes even smaller. On bright daytime streets, f3.5 handles any light just fine.

What’s that? Background blur? Okay, the Leica Elmar 50mm isn’t exactly a bokeh champ at f3.5, but hold up—can you say it lacks depth? That lens has a killer sense of space, something even f2 or f1.2 lenses from other brands can’t always nail for that street vibe. Maybe the Elmar was born for the streets!

The Leica M8 Comes With Its Own Flash

leica m8 with elmar 50mm f3.5

When I saw this photo, it hit me why the Leica M8’s black-and-white shots pull me in way more than the M9’s. In my mind, only black-and-white film with a yellow filter could come close. The M8’s black-and-white portraits? They make faces pop with brightness. It’s because there’s no infrared cut-off filter, giving those photos a unique charm—like an invisible spotlight lighting up people’s faces on the street. Pretty awesome, right?