đź”´ Guest Post: Aaron Bludworth
“The Images Matter Most; The Optics Matter Too”
There’s often a conversation about how much or how little cameras and lenses matter to making great images. I mostly side with the very little side of that conversation.
That said, there’s a 5% range at the top (and I suppose the bottom) where the gear, especially the optics, makes a tremendous difference. I strive to make images that get into that five percent as often as possible, where the tool can truly enhance the image. For me, that is typically delivered when using a Leica Noctilux lens.
Who is Aaron?
I’m originally from Alaska (USA) but moved to Salt Lake City when I was fairly young and lived there for a couple of decades before moving around a bit over the following decades, and I recently moved back to Utah, right at the base of the majestic Wasatch Mountains.
In Alaska, my dad was a mountaineering pioneer, and unbeknownst to me at the time, was shooting thousands of slides using a Leica IIIa from 1936-37 with a Cooke 50MM lens that he had picked up at a yard sale in the 1960’s. So though my roots and residence are in the mountains and the Western United States, I’m a city boy at heart and consider NYC my photographic home.
My journey to Leica?
When I was young, I shot with whatever I could get my hands on. I couldn’t afford gear, and so my photography was definitely not about the gear. In the early 2010’s I settled in with Sony for several years, but simultaneously had some of the more affordable “basic” Leica cameras – a D Lux, an X Vario, etc.
In 2015, when the Leica SL (601) was introduced, I read everything I could about the system and “needed” to get my hands on one. I went to the Las Vegas Leica Store (RIP) and picked one up not long after the release. It quickly became my “go to” for most uses.
It was the announcement of the 75MM Leica Noctilux that brought me “all the way” to Leica. This lens was a marvel (and way beyond my then interest in “investing” in a lens), and I wanted it. I got my hands on one as quickly as possible, finding a barely used one as new ones were trickling out of the factory, and I couldn’t wait.
More on the 75MM Noctilux later, but needless to say, this was the gateway to M cameras and lenses for me, and I’ve never looked back.
Why Leica?
I choose Leica for two reasons, honestly, they’ve probably come to have equal weight for me; craftsmanship and community. The Leica community: the artists, the international and U.S domestic staff, and even, maybe mostly, the fans who aspire to participate in the Legacy of Leica, is such a tremendous source of inspiration and friendship.
Opposite of the false stereotype that Leica’s just sit unused in drawers next to Rolex watches, Leica users are ferocious creators, passionate friends, and endlessly curious. I’ve never seen a photographic community as open and inspiring as the Leica community.
Then there’s the craftsmanship. Leica equipment is extraordinarily well built, every detail is considered, and the quality is clear in every aspect of the equipment. However, when I talk about Leica craftsmanship, it is the optics that hold the most weight. There is nothing like Leica glass; the sharpness, the character, the variety, the longevity, it delivers in that 5% I mentioned above.
Leica glass challenges me, and once I’ve “unlocked” a lens, it can deliver images that I could not in any other way. To me, Leica lenses are the best in the world and reside there in a class all their own.Â
What Do You Photograph and Why?
I’m a generalist, I shoot everything. If I could only shoot one subject, it would always be people: beauty, fashion, street, documentary. I love people and capturing them. I want to make them look and feel their best, illustrate their situation or story as best as possible, and to help others see them as they should be seen.
So, though you might find me capturing images of animals, cars, life, whatever, I’m always on the lookout for an interesting person to put in front of my lens.
How Do You Know MrLeica?
I’ve followed Matt for many years and appreciate his insights into photography and Leica, but we’ve only met in person once. But as is often the case in the Leica community, one in-person meeting is more than enough to have a meaningful connection and friendship.
But in-person at Photo London, we were quickly in deep conversation and passing the gear we had with us back and forth.
Favorite Leica Camera?
This is always a tough question, but I always answer with the camera I use the most or the camera that I would keep if I could only have one. That, of course, changes over time, but for me, it is currently the Leica M11 Monochrom.
Ask for my favorite vintage or favorite special edition, or some other narrowing question, and I’ll have another answer, but my favorite is the one I’m going to go out and create with the most.
Favorite Lens?
This is easy, though I love a lot of lenses, the 75MM Leica Noctilux f1.25 that I discussed previously is the favorite for sure. The shallow depth of field and optical perfection gives me everything I want when it comes to making portraits. For my desired outcomes, I’ve never seen a lens that delivers like 75MM Noctilux. This lens is a marvel.
Favorite Film?
I haven’t shot film in a long time and am generally resisting shooting film again. I enjoy consuming the film creations of others, I appreciate the extension of art that film can bring, but I’m simply not patient enough to shoot film at this stage.
Where can you find Aaron?
Follow me at:
- Instagram: @bludco
- Threads: https://www.threads.com/@bludco
MrLeica comments on this article
I met Aaron at PhotoLondon 2026 and was kindly introduced by Iain who you might remember from his recent article. We instantly started chatting all things Leica and kept in touch.
I can definitely relate to Aaron’s story to Leica. I love my Leica iii cameras but it was a Leica M mount lens that pulled me to Leica (actually a Voigtlander Nokton Classic 40mm f1.4).
I was shooting Leica M cameras before the Leica SL 601 was a thing but unexpectedly transitioned to the SL series cameras as the years passed (after getting the little Leica CL). These EVF cameras just make it too easy.
From a creative point, I like to see my focus and exposure “real-time” (before clicking), but just as important for me, I want to see the lens flare (and bokeh to a lesser extent). For fast glass like the Noctilux lenses the bigger SL series cameras balance nicely and the EVF lets you nail your focus every time.
Fun fact. I used to shoot weddings with a Leica Noctilux 50mm f1.0 (v2) lens (wide open) on my Leica M9. Why? Two reasons. First there wasn’t enough light in the old English churches for the M9. Second to create images that other wedding photographers couldn’t replicate with their mainstream DSLR cameras and autofocus lenses (at the time).
The 5% “rule” Aaron mentions is real and it matters to me too. That’s why I love playing with vintage lenses (and Chinese replicas of!) Thanks Aaron.
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