These days, my go-to setup for exploring city streets is a Leica M rangefinder slung around my neck. The bond between street photography and Leica stretches back decades, and the reason is straightforward — the M system camera and its unique rangefinder focusing mechanism were practically designed for this kind of work.
That does not mean a rangefinder is a prerequisite for shooting on the streets, nor that a Leica is limited to urban scenes. It simply means that this category of camera has earned its place as the instrument of choice among dedicated street photographers around the world.
For those unfamiliar, the term "rangefinder" describes the focusing method itself. When you peer through the viewfinder, you see two overlapping versions of the same scene. As you rotate the focus ring on the lens, those ghost images gradually converge — and the moment they align perfectly, your subject is in sharp focus.
Why Choose a Manual Rangefinder?
That is the question worth asking. Once you realise this camera is almost entirely manual, the choice seems puzzling at first glance. Focusing is a hands-on affair. The frame rate maxes out around four shots per second. The viewfinder is essentially a window — it does not look through the lens, and it bears no relation to the attached focal length. Meanwhile, the DSLR world offers vastly more features and automation. And the price? A body, one lens, a spare battery, and a strap can easily run upwards of thirteen thousand dollars.
On paper, it makes no sense at all.
I traded in every Canon body and lens I owned for this system, and I have never been more confident that it was the right move. I have always preferred manual control — autofocus never suited me because it dictates where your compositions land. The mirror mechanism inside DSLRs demands larger bodies, and high-quality lenses grow bulky to match. Place a Canon 5D Mark II beside a Leica Monochrom, both fitted with a 35mm f/2, and the Leica comes in at roughly two-thirds the weight and arguably even smaller in physical footprint. Factor in the shutter sound, and you become far more conspicuous carrying a DSLR through a crowd.
The advantages of rangefinder cameras — smaller size, near-silent operation, and discreet profiles — are not merely the emotional claims of devoted enthusiasts. Several courtrooms in the United States reportedly allow no camera louder than a Leica M-series rangefinder during proceedings. That alone tells you something about the engineering.
For many photographers, I will admit, this is not the ideal camera. But for those who prioritise portability, silence, subtlety, and outstanding image quality, it is hard to beat.
On the Streets
I plan my outings with precision. My photographic style leans minimalist, and the surrounding environment is everything. Coming from a background in architectural photography, I am extremely particular about what sits behind my subject.
Naturally, plenty of locations are completely new to me. When I arrive, the first task is scouting the best positions. Where exactly do people gather? How do they move through the space? What corners and sightlines produce the most interesting interactions?
So I wait. I observe. With nothing more than a compact camera hanging from my neck, I am almost invisible — nobody gives me a second look, and I certainly do not appear to be a working photographer.
After a few minutes of study, I know exactly where to set my focus, and I lock it in ahead of time.
And then… nothing happens.
I have lost count of the times when the people walking through a scene are simply passing through with no awareness of what surrounds them. If the backdrop is extraordinary and the passersby are oblivious to it, that indifference can actually make for a compelling composition. But if the scene itself is unremarkable, the image falls flat.
Patience always rewards you in the end.
I touched earlier on the drawbacks of fully manual operation, but the flip side holds genuine advantages. In the image above, a young boy dashed through a set of fountains only once. He clearly had not expected the jets to fire, and he bolted the instant the water hit. That moment lasted a fraction of a second — but I captured it because my lens was already focused on the spot. I had been standing there casually, needing only to raise the camera and release the shutter.
The Secret: Zone Focusing
Here is a technique many people do not know about. With a full-frame camera stopped down to f/8 and focused at a distance of three metres, everything between roughly two and ten metres falls within acceptable focus. This is called zone focusing, and it allows you to shoot without ever raising the camera to your eye. Incredibly discreet. And three metres happens to be almost exactly the distance I stand from my subjects when I want to photograph them.
A suited figure pauses on a grand staircase, absorbed in his phone and puffing a cigar. He kept shifting his weight, so I waited — hoping he would step onto one of the broader landings. He did. A satisfying result.
Improving Your Street Photography
Regardless of the camera you carry, there are practical lessons I have picked up through years of trial and error that can genuinely improve your results on the street.
Always Have a Plan
Even something as simple as deciding to walk from one landmark to another gives your outing structure. Before heading out, compile a list of interesting spots, subjects, or themes you want to explore. On rainy days, hunt for reflections in puddles and shop windows. On clear days, study the reflections in glass-fronted buildings. Lately, I have been drawn to phone booths and graffiti as recurring motifs.
Channel the Tourist
Everyone seems to spot the timid photographer clutching a camera at waist level, yet nobody pays the slightest attention to a tourist openly gawking and snapping away. Adopt that energy. Walk with confidence, look around freely, and when you see your shot, commit to it without hesitation. If someone notices you, simply wave, offer a friendly smile, and move along — exactly the way a tourist would.
Study Your Surroundings
Firing off random snapshots of strangers going about their routines will lose its appeal quickly, and the results will feel empty. Think about what the viewer of your photograph will actually see and feel. As you walk, pay close attention to architecture, signage, graffiti, billboards, and oversized posters. People positioned in front of these elements can produce striking juxtapositions. Train yourself to visualise a person — or a group — as a foreground element before they even arrive. Sometimes it is worth standing still for a few minutes just to see who wanders into the frame.
My hope is that this piece offers a genuine window into what daily life looks like with a rangefinder camera — an instrument that, for my purposes at least, remains the perfect tool for the job.