This may have been posted already in the past, but this was new to me.
While researching what my Leica M6 & 35mm Summicron lens are worth on the second-hand market (answer: a lot...), I came across this in Mike Johnston's column in 'The Luminous Landscape'.
Speaking of the qualities of the 35mm f/2 Summicron lens:
So there you go: according to Mike, bokeh or bo-ke is the Japanese work for blurry...
While researching what my Leica M6 & 35mm Summicron lens are worth on the second-hand market (answer: a lot...), I came across this in Mike Johnston's column in 'The Luminous Landscape'.
Speaking of the qualities of the 35mm f/2 Summicron lens:
It is optically pretty, at least stopped down in daylight. In the articles in Photo Techniques on "bokeh" in 1997 (I personally must take credit for inventing that now-common westernized spelling, since standard romanized transliteration of the Japanese word for "blur" is "bo-ke" or boke, which I felt was too readily mispronounced), I called it "the King of Bokeh." It's far from a perfect lens, but its flaws are, shall we say, amenable, and its good qualities are very pleasing indeed. Despite the nearly Universal prejudice these days, I don't think Leicas are about good lenses; I think their advantage is mainly in the camera, in its
handling, responsiveness, portability, quietness, and in its potential to be mastered. You can find sharp lenses under any flat rock (note to the literalists: figure of speech again). Only the Leica allows such a responsive and controllable camera with lenses that are perfectly good enough.
So there you go: according to Mike, bokeh or bo-ke is the Japanese work for blurry...

