Aug 282015


A year with film – Leica, Contax, Nikon, and Hasselblad

By Adam Laws

I hope your well and have a cup of tea close by, it’s pretty miserable here in London. It’s been awhile since my last submission and I thought I would write to you about my year of analogue photography with a Leica, Contax, Nikon, and Hasselblad.

Since my last post on portraiture with the Sony A7 ‘apparently’ I have been going all hipster though I must say without the beard by shooting analogue.

The majority of my work is still shot on my Sony A7.

Sony images 1, 2 and 3 – 

Sony 1

Sony 2

Sony 3

However I have been supplementing my digital work with far more analogue images, furthermore I generally shoot all my personal snaps now on film. I don’t believe film is better in any way but I do believe without trying to sound all hippy film gives a more organic image. Most importantly I enjoy the process of shooting film more, and surely fun is the most important element in the creative process.

So I’ve gone through some cameras this year, which I will elaborate on why giving a brief synopsis/feel of the cameras.


I bought a Leica M6 TTL with a .85 viewfinder and 50 ‘cron. Leica’s are beautiful aren’t they? The lore written about them makes them sound at times like unicorns at times, as such I romanticized owning one.

My thoughts on owning one – Well they are beautifully built. Solid and satisfyingly weighty. I did struggle with ownership, which ultimately made me sell it after a few months. This is not the cameras fault but more the time in my life I purchased it. Soon after I started my part-time photography degree, I needed to shoot an element of film in a studio and the Leica with its limited flash sync was not ideally suited to this task.

I also struggled with the notion of how expensive it was. Don’t get me wrong it is a beautiful piece of machinery, which evokes an emotive response and for that I totally appreciate why individuals buy them. However for the less money I could purchase a Hasselblad 500cm, Nikon FM2n, and Contax G2 all of them with glass and have change. Is a Leica M6 better than all 3 of these cameras? And would I have less fun shooting these cameras. So I sold the Leica to find out.

Leica images 1, 2, and 3

Lecia 1

Lecia 2

Leica 3


This camera is a beast. Well it terms what I’m used to. The sound of the low thud of the shutter makes me smile. I do struggle with its size. I’m used to traveling light so having a big medium format camera is somewhat strange for me. It also interesting shooting back to front, something I am still getting used to.

The best thing about the camera, even more so than the negative size it produces is the reaction I get from the model. As soon as a model sees this camera in my experience they instantly get more serious about the project.

Hasselblad 1, 2, and 3

Hasselblad 1

Hasselblad 2

Hasselblad 3

Nikon FM2n

This is becoming one of my favourite cameras I own. The bright viewfinder, the solidness of the camera, and the big manual dials. It does not feel as good as the Leica, not as well made or smooth. I would say the camera is more utilitarian workhorse. I use it with an awesome Nikkor 50mm 1.2, which is a joy to use.

Generally this camera is loaded with FP4 film shot relatively wide own in a studio environment, where I would be using the model light as a source of light in-between shots with Sony or Contax G2. I have started taking this camera on the street with me when I fancy shooting B’n’W.

Nikon 1, 2, and 3

Nikon 1

Nikon 2

Nikon 3

Contax G2

The Contax is pretty much always in my bag. It can do everything my Sony can but it uses film. Unlike the Nikon this is normally loaded with colour Portra. The focus is always accurate and makes a great travel companion.

The contax does feels better in my hand than the Leica ever did. This is due to the thumb rest situated at the back of the camera. In addition the dials are a step up from that of the Nikon, but the camera feels very electronic with autofocus sounding something like Robocop. I also use this as a secondary studio camera generally mimicking the settings I had with the Sony to have a comparative organic film image.

Contax 1, 2, and 3

Contax 1

Contax 2

Contax 3


Generally there isn’t one. I think ultimately as long as you enjoy the process of creating images that is the most important element.

Sometimes there is a more suitable tool for the job, but that doesn’t also mean it is the most fun way to complete the job after all.

For me I like the organic images, the slower pace of shooting, the challenges asked of you using antiquated cameras, and thought processes that go through your mind.

I have enjoyed playing about with different formats and cameras. I think it’s always a great idea to play around with as many cameras as possible that way you know what you like and don’t. In addition the challenges posed by new equipment makes you think about your photography, which is never a bad thing.

You can view more of my work on my website:

However I regular update my Instagram with my newest work:

Aug 262015
SteveHuffJoaoMedeiros 16


A Manual Approach to Wedding Photography

by Joao Medeiros

I’m not comfortable writing. Images, particularly photography are what drives me. Since very young Art was part of my life, I went from painting and waiting to be an architect to abandon everything for a life in the theatre, just to pursue a career in Jazz playing trumpet.

But at my twenties, I was struggling to make it and everyone was making sure I knew I had to earn money to be a successful individual. Money was never my interest, I’m passionate about Art, any form of it. But Photography had a degree of intimacy and control that I had never experienced.

I went to college to take a photography bachelor and complemented it with a bachelor in Fine Arts and a master’s degree in Visual Arts teaching, things went on for a while, drifting in teaching, corporate/event photography, restoration related jobs before I finally found the one area where I had complete creative freedom. A freedom that allows me to choose the gear that gives me pleasure while creating and expressing myself through Photography and eventually sharing my Vision.

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Weddings are something that has been with society since we had the need to express our love for our life companion. Happiness is something that needs to be shared and celebrated with our loved ones. And that’s what I like about them, it’s all about family and friends making the most of Life. When I was in college, I did the whole course with only an Olympus OM 1 and a 50mm, since then manual focus is second nature to me, even when I had top DSLR’s AF never grew on me. But when I used the first serious EVF (Panasonic GH2) I knew what I wanted and what I wanted to see while composing. Eventually, when I step up to weddings I needed the best dynamic range and colour I could get my hands on it, so I bought a Sony A99 and a Nikon D800e to figure out my needs. After a year the Sony won me, not because it was superior to the D800e, it was Sony’s approach to photography that made it. The fully articulated LCD, I. S and Minolta’s heritage all over the place made the A99 a superior tool in my hands.

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When the mirrorless Sony A7 appeared on the scene I had no doubts and bought one immediately with a set of Zeiss ZM and Voigtlander lenses with the VM close adapter. Since then, shooting has been a real pleasure. Nothing beats feeling your shots, even when we are capturing fleeting moments like kisses, exchanging vows/wedding rings or sharing a secret while on the dance floor at 4 am. Having a small, robust camera with the best glass in the industry makes me feel very confident and secure that when I get home, I have all I need to put together a body of work that reflect my vision. That’s the main lesson I learned, you really need to follow your own unique vision of things.

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We are all different, but you really need to push beyond the limits to reach for that inner voice. Recently I added the amazing sigma Art 35mm f 1.4 to my set, the only complain is its sheer size when compared to my little Zeiss ZM 35mm f2. My workflow is pretty straightforward, I use B&W mode to concentrate on composition and focus while having red peaking and magnify to guarantee that every moment is in focus. For 75% of all my work, I use the 35mm focal length with my Sony A7 and take advantage of the articulated LCD from the A99 to get more discrete and intimate portraits with the 85mm, also from Sigma. Just a little detail, I removed the slt mirror from the A99 and use it in manual focus, so it’s basically a big mirrorless camera. I’m more of a guest than a professional photographer, at least that’s how I’m perceived by my clients, family and friends. A friend who happens to make a living from photography. I really try to enjoy the wonderful day, conscious that I’m very fortunate to be at a private party while making a living. I’m always the first to arrive and the last to leave, it’s after all a body of work and not just a staged kiss with the golden hour moment. It’s people that drive me, the concept of family and friendship not staged moments.

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I’m looking forward to get the new Sony A7RII since it brings some new features like a new and stronger shutter that it’s better damped, the I. S, min. auto shutter, copyright embed info, better high ISO performance and even the silent shutter option although with some caveats.

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Thank you.


João de Medeiros

Aug 242015

Leica M: Not perfect, but I love it.

By Steven Jermaine

Hey Brandon and Steve, first thank you for keeping up all the hard work over the years. It’s been a pleasure to read and see the growth. Over the years GAS has led me to and through many cameras, such as the fuji x100, sony nex 7, sony rx1, nikon df, Leica m8, canon 70d, and etc But with the blessing of my wife my GAS was abated with the purchase of a Leica M240 and Zeis 50mm f2 lens. It’s my daily camera and goes with me everywhere. I purchased mine certified used from and verified the two-year warranty with Leica NJ.

This camera I am sure everyone knows is amazing so I won’t have to go there. And yet, I am sure everyone knows it has its issues and as a person who has experienced it, I’ll touch on it a little. This camera has been sent to NJ for repair early this year for two months. That wasn’t a fun time as the rangefinder was out of alignment amongst other things. I purchased a Sony A6000 to hold me over (Great little camera).






Despite the issues I find myself still in love from day one. The camera inspires me to take it out everyday and attempt to create something. Some days I don’t make any images while others I shoot a whole lot. But it’s always with me and like you always say, that’s should be the camera you own.

Ok this is getting a little long but as for the images, these are test shoots and my daily musings around Washington D.C. I hope you enjoy them. Thank you everyone for your time. If you’re in D.C. and want to photo-walk around, don’t hesitate to email or dm on Instagram. I’m always looking for photo friends.


Steven Jermaine

Aug 242015

User Report: My 1st Leica Q Shots

by Yoon-Chou Chong

Got the Q just a day before the family holidays which was just as well to test how easy it is to pick up and go. The early pictures in Sydney were mainly from JPEG and although I have heard of Leica’s limits it was ok and does give it the ‘look’ (vs say the RX1 which probably matches in sharpness). Funny thing is when I am defaulting to Program, it always starts with F1.7 which if you aren’t thinking too much of your shots (that is pretty much what happens if you are shuffling with a 5 year old). The EVF was wonderful, and it brought me back to looking into it (rather than lazily on the screen).

2015-06 Sydney (2 of 16)

2015-06 Sydney (5 of 16)

2015-06 Sydney (6 of 16)

2015-06 Sydney (8 of 16)

2015-07 singapore (4 of 6)

2015-07 singapore (5 of 6)

2015-07 singapore2 (16 of 43)

2015-07 singapore2 (36 of 43)

Aug 102015

Lomo LC-A Minitar-1 Art Lens vs Leica 35mm Summicron

A quick comparison by John Ricard

I recently had an opportunity to do a quick test of the new Lomo LC-A Minitar-1 Art Lens as it compares to my 35mm Summicron.   The Lomo lens is based on the lens of the LC-A -a camera that feels cheap despite its high cost.  However, because people love the colors, vignette and rendering of its lens it remains popular today, some 30 years after its original release.

The LC-A Minitar-1 is produced in the Leica M mount.  However, unlike the LC-A, the lens is made of metal and it feels more expensive than it actually is.  The lens is so small that it looks more like a large lens cap than an actual lens.  Because it is rangefinder coupled, it is possible to focus the lens precisely -something that can’t be done on the LC-A’s zone focusing system.

Of course the only thing that really matters is how the lens renders.  From the very few images I shot with the Minitar alongside my Summicron I could see the lens was actually sharp in the center. Certainly sharper than I expected for a $350 lens.  The edges have a pronounced smearing that actually looks pretty cool to my eyes.  Remember, this isn’t a lens that you buy for its technical perfection.

I also shot a quick comparison of how the lens handled a situation where the subject was backlit and the potential for flare was great.  While my Summicron didn’t produce flare, I was pleased to see that the flare was indeed dramatic on the Minitar.  This alone would be a reason for me to purchase this lens -not as a replacement for the Summicron, but rather as a compliment to it.

All images were shot at f2.8 on both the Minitar and Summicron. Leica M240. ISO 1600





Jul 292015


A Mega Leica 28 Summilux f/1.4 Lens Review

by Kristian DowlingSee his BLOG HERE!

Review disclaimer:

*Lens was used entirely at f/1.4 for the entire review, in every picture unless stated otherwise.

*No protective filters were used.

*Editing was kept as simple as possible in Lightroom, with no clarity added/subtracted to maintain the lens’s true signature.

*This is not so such a technical review, but more so focused on the lens in field-use.

*Pictures are meant to represent a variety of achievable results, typical of the average Leica M user (nothing overproduced).

*No distortion or lens correction tools have been used.

*Special thanks to Leica Camera Australia for the loan sample.

I can’t express how excited I was when Leica announced the limited edition M100 set, commemorating Leica’s 100th Anniversary, with a new Summilux-M 28/1.4-ASPH lens in chrome, a little over a year ago. I’ve been lusting after a 28/1.4 M lens since I started M photography some 21 years ago. I knew it was only a matter of time before it would become a regular production lens, and I’m very happy that it has finally come to fruition.

My experience with the 28mm focal length has been quite extensive over the years. My first experience with using a 28mm prime came in the Nikon 28Ti compact film camera, followed by the Ricoh GR and the Nikon AF-D 28/1.4 lens, which at the time delivered fantastic results (at the time). Fast forward to 2015, and we now have the ultimate (and only) ‘fast’ 28mm lens ever produced – the Leica Summilux-M 28/1.4 ASPH lens.

Image shot with Summicron-M 28/2 ASPH on Monochrom


I first got to see this lens at the Australian Leica Q launch last month, and was lucky enough to have been lent the only Australian copy for the last month (no pressure for a good review). During this time, I have been able to use it in many different situations, over a variety of genres, which you will see throughout this user-review. The 28mm focal length isn’t easy to get along with, but once you get to know her, she becomes a very, very versatile focal length – probably the reason why Apple employ it in their iPhone 6 and 6 PLUS smartphones, making it the most used focal length in the world.


It may come as a surprise that Leica is focusing their two latest products (including the Leica Q camera) on the 28mm focal length, but in my opinion it is a very smart move. There is no shortage of great 35mm lenses, and while the Summicron-M 28/2 ASPH is an excellent lens with a very smooth character, the ability to isolate doesn’t make it stand out amongst a lineup of fast class-leading lenses, like the Noctilux for example. Leica are arguably the best in the 35mm-format game when it comes to lens design, quality and performance, so it is important for them to showcase their abilities – and the new Summilux-M certainly makes a strong statement.

Previously, there were a couple of 28mm options in Leica’s lineup, and all have their unique place and usage intentions. The previous models were all mainly focused on the Elmarit as the demand for fast 28mm lenses only came about in the last decade. All previous generations of the Elmarit-M were fantastic, with the quality really stepping up in V3, where wide-open performance was significantly improved across the frame. Currently, the two Leica-M lens alternatives to the Summilux are:

· Elmarit-M 28/2.8 ASPH – small compact, well-priced and well-controlled distortion. Great for the traveller who doesn’t need speed and is more focused on keeping their gear lightweight, compact and values the lack of distortion over speed.

· Summicron-M 28/2 ASPH – A nice mix of speed, performance and size in this compact lens that is a nice jack of all trades, known for it’s smooth character due to the transition from sharp to soft wide open.

Build Quality and Design

As expected, everything about the 28 Summilux-M is typical Leica. Superb German, handmade craftsmanship, along with great handling and smooth focus and aperture action. It only comes in black (currently), most likely to keep M100 kit owners happy with their unique purchase, but knowing Leica, I would expect them to release a chrome version sometime in the future. The size fits directly between the 35 Summilux-M and the 24 Summilux-M, which was really good to see. The initial fear was that it was going to be very similar to the 21/24 Summilux-M lenses, which are a little on the large and heavy side, bordering on Noctilux territory. Thankfully, it’s not much bigger than the 35 Summilux-M so it’s great as a carry-everywhere, everyday lens, and balances really well on the M body.


The newly designed lens hood is similar to that on the 35-Summilux-M, only a little thicker which is a nice change, and screws in firmly and perfectly aligns right on the center as it should. I’m happy to report that during the last 5 weeks using this lens, it has never come loose. Finally, it has the typical Leica depth of field scale, which is very important to those who employ the hyper-focal focusing technique, which works very well on a 28mm lens due to the extended depth of field over standard and telephoto lenses.

Optically, this is what Leica has to say about the new Summilux.

“The Leica Summilux-M 28mm f/1.4 ASPH. rounds off the range of high-speed M wide angle focal lengths. It offers exce lent image performance over the entire image field even at full aperture and in the close-up range thanks to a „floating element“. With its exceptional contrast, the lens delivers the same recognized high performance level as the Leica Summilux-M 35mm f/1.4 ASPH., and in some respects actually outperforms it. The vignetting that is typical of every optical system is naturally more defined on a wide angle lens, particularly a high speed one like this, than on standard lenses or those with a long focal length. At full aperture in 35mm format it is a maximum, i.e. in the corners of the image, of around 3.4 stops, around 2 stops on Leica M8 models with their slightly smaller format. Stopping down to 5.6 visibly reduces this light falloff – to 1.8 and 0.8 stops respectively. Stopping down further does not bring about any notable reduction as essentially only the natural vignetting remains. Distortion is extremely low for a wide angle lens at a maximum of 1.1% , which is rarely noticeable in practice. A total of ten lens elements are used to achieve this exceptional performance. To correct color defects, seven of these are made of glass types with anomalous partial dispersion, while one has an aspherical surface. To maintain performance in the close-up range, one element towards the rear of the optical system is a “floating element” that moves independently of the rest of the mechanism.
Summary: The Leica Summilux-M 28mm f/1.4 ASPH. offers maximum image performance with a focal length / speed combination previously unavailable in the M system. This extends the composition options of M photography, particulaly for available light shots, but also thanks to a previously unattainable reduction in the depth of field combined with large field angles.”

Here are the graphs important to you techy-geeks out there. The MTF especially suggests that performance wide open is incredible, and equal to many other brand lenses stopped down to their best. This is truly where Leica stands above the crowd.


Depth of field at f/1.4 is very narrow, but compared to what many are used to with 35mm, there is a little more room for error, and allows greater possibilities in certain situations where having focus is more important than not.


Depending on how picky you are, the chart suggests excellent distortion control, and when you consider the speed of the maximum aperture, this is a design Leica should be very proud of, at least on paper. In the field ‘could’ be entirely different (though it is not haha).


> Keep reading to see how Leica’s words translate into image quality during my field test.


Due to the size and weight distribution, the lens handles wonderfully on the M, enabling focus and aperture changes to be smooth and accurate. I have a full production sample, and the focusing action is even smoother than most 35 Summilux’s I’ve used. I believe ‘perfect out of the box’ would be an accurate description. You do notice a weight increase over the smaller 35 Summilux-M but it’s not a lot more and the size is comparable in operation. In fact I found the 28 more comfortable to use than the 35 because of the slight increase in length, making focusing and aperture changes easier with my medium sized hands. As the lens hood is screwed in flush with the lens, changing the aperture is very easy, compared to previous Elmarits and Summicron that use a large plastic clip-on hood.

Leica M | Summilux-M 28/1.4 ASPH


Leica M (Safari) | Summilux-M 35/1.4 ASPH


Leica Q | Summilux-M 28/1.7 ASPH


In the Field

The 28mm Focal Length

Those who don’t have much experience using the 28mm focal length may need to be patient with this lens. Some say it’s too wide and others say it’s not wide enough, and the others say it’s too ‘in-between’. A comment I’ve been hearing a lot lately (since the Q’s introduction), is ‘28mm is the new 35mm’. Well I’m not so sure I totally agree with that, but considering the iPhone has a 28mm (approx) focal length and has the most used camera in the world, there is some argument that suggests the comment isn’t so far fetched. Back when the great Henri Cartier Bresson was roaming the streets of Europe, the 50mm focal length was the norm. Later, photographers started getting closer to their subjects and preferred the wider frame of the 35mm focal length. Considering today’s style of shooting (including paparazzi), it’s understandable how the 28mm focal length has several advantages over 35mm.

Firstly, it is wider, fitting more into the frame than 35mm at the same shooting position, also creating a slightly more dynamic ‘in-your-face’ perspective, if used correctly. You can also get closer to your subjects, while fitting more background into the frame, giving you more compositional options. Having said that, this may not be an advantage, depending on your style of shooting. The one thing I’ve always loved about shooting with the 28mm focal length is that it’s the widest focal length you can shoot without having to worry too much about tilting or placing subjects/objects on the side of the frame. When you go wider to say 24mm or 21mm, perspective distortion becomes a real issue, making it quite annoying for documentary purposes. While the 28mm perspective does come with some distortion, it is tolerable, and even when tilting, it is negligible and I have no issues with placing my subjects off-center.

Simple Model Shoot

Shooting with the 28 Summilux-M for portraits takes some getting used to, especially for 35/50mm users. The angle of view is extended quite a bit for only 7mm, giving much more depth of field and background to work with. Nailing focus is quite easy as the f/1.4 aperture is more forgiving at 28mm due to the increase in depth of field, but the drop-off from sharp to unsharp isn’t as abrupt as say the 35 Summilux-M.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot  at f/2.8 on the Leica M240


The colour signature is as you would expect from most Leica lenses – very neutral, and with medium to high contrast, but in these samples bear in mind that the light was strong, emphasising the contrast even more. When the light gets low, this is when the 28 Summilux-M really shines.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


General Photography

For general street and travel photography, the 28mm focal length is an ideal choice as you don’t often feel limited for a majority of scenarios, unless shooting architecture or grab shots of people from a distance is your thing. The lack of distortion for such a fast wide angle lens is quite impressive and never felt it hindered my pictures of building etc. If you don’t like tripods, this lens will delver. At f/1.4, sharpness is already close to it’s maximum resolution so there is never a compromise in sharpness throughout the f/1.4-f/11 range, and at certain distances, the f/1.4 depth of field will provide adequate focus throughout the entire image.


BELOW: Crop from image above


As you can see here, there is some viewfinder blockage which is a bit annoying, but not a deal breaker. While some may prefer to use an external finder which gives not only as clean view, but an accurate perspective of distance and framing, they are a hassle if you’re shooting in situations that require speed.


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Below: Crop from image above


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Below: Crop from above image


There is some field curvature, but at further distances this is not a problem, and in this image the entire frame is sharp at f/1.4 – quite amazing!

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Bokeh is very, very smooth, much like the Summicron-M 28/2 ASPH, except at f/1.4, the focus drop-off is much more dramatic and compelling for times where you’re trying to isolate your subject from a background.

Shooting in a nightclub with screaming fans for UK pop star Craig David was no match for the 28 Summilux-M, delivering crisp images, even against backlights and fairly poor lighting……oh and did I mention it’s damn sharp too?!?

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


It wouldn’t be a Leica review without at least one cat or flower picture right?!? Well considering I’m a cat-lover, no flowers were shot during the testing of the 28 Summilux-M.


Below: Crop from image above


Shooting with the 28 Summilux or any 28mm on the Leica M can be a bit frustrating due to the incorrect perspective you see through the built in finder, which is more suited to the 35mm/50mm focal lengths. When you first start shooting a 28mm lens on the M, you need to remind yourself that you’re further away from your subjects than how it looks through the viewfinder, so getting closer is important.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240


CROP from above image:



Shooting as a Wedding Guest

I was fortunate to be the guest at a very special wedding of two very good friends, Lawrence and Tukta, in Hua Hin, Thailand. Lawrence is also an avid Leica user and owns an M60, so the pressure was on to capture a couple of nice moments before the alcohol got to me, hehehe. Here Lawrence is seen waiting for the wedding to begin.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240




Using the 28mm Summilux-M at a wedding all day was a real treat. I love to get up close to my subjects and combined with the stealthy M, I was able to move in and out of places without people looking directly at the camera or feeling intimidated by the usual large and loud SLR cameras seen in these scenarios.

I found that my hit rate of in-focus shots was at about 90-95%, which is a little higher than my normal 85-90% on the 35 Summilux-M. Obviously the increased depth of field at f/1.4 helped significantly.



Crop from above image:


I’m not a wedding photographer, but like any documentary work, there are always those little moments happening around the bride and groom you need to look out for. Here, I love the way the focus drops off to a smooth background, and while I don’t condone shooting wide open ‘all the time’, I do enjoy keeping this lens at maximum aperture most of the time.

Below you can start to see the effects of distortion creeping in on the top corners, but it is totally fine in my opinion, and is more so due to the tilting, rather than the geometric distortion occurring.


It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.


It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.



Due to the mixed lighting I found that the final two images look better in Monochrome. For the first I pre-focused on someone in the crowd and waited for the subjects to hit their mark before firing, ensuring accurate and sharp focus. What a great end to an amazing weekend!



Muay Thai Camp – Coaching One-on-One

As a photographer and coach, I was employed to train an enthusiastic Thai photographer named Miti. During his training he was using the Leica Q entirely, and I was snapping a few test shots on the M with 28 Summilux-M. I had previously shot a story on this place around 7 years ago and a lot has changed. Please keep in mind this is not a complete story, but a selection of images I shot while coaching my student.


Below: Crop from above image





Below: Crop from above image


While this looks like a slow moving wrestle it was anything but. I was shooting at ISO 1600 with 1/1000sec to ensure sharpness at the plane of focus. Due to the extreme movements I had to prefocus and guess my distance and pray for focus where I wanted it at the time of shutter release. Dare I say it, a majority were out of focus, so I have to say, the M isn’t exactly recommend to those wanting to shoot erratic, unpredictable action. I am pleased to say that my student Miti was able to achieve a good number of sharp in-focus images with his autofocusing Leica Q.



Muay Thai fighters are often viewed as celebrities in Thailand so vanity also comes with the business of winning. Let’s just say the mirrors are used more often than you’d probably expect from young men, capable of breaking you in two.



Below: 100% crop from above image






The previous time I shot a professional Muay Thai fight, I was using an autofocus SLR with a short zoom lens. Using the M and 28mm, my ability to be effective was lessened and I certainly relied more on hope and luck. Luckily my 21 years experience helped me pull out a few keepers.


Compared to the Leica Q

While some may assume this is an unfair comparison (either way), I think the two lenses should most definitely be compared. Unfortunately I didn’t have the time, nor patience to compare side by side – sorry, I’m travelling and working. Though I will give a brief analysis after spending time with both lenses/cameras.

Leica Q_Production_2_cmyk

Firstly, there is no debate that the M lens is superior in sharpness wide open, and there is a more dramatic fall off from focus to blur. Other than that, they are quite similar lenses, though the Q lens has one major advantage. It was not only designed for the sensor it is attached to, but it has processing built into the Q body that corrects the image for any lens limitations, including distortion. Currently, there is no Lightroom profile for the new 28 Summilux-M lens, so any corrections need to be made manually if desired – at least until a profile is released by Leica.

The question on many M users’ minds will be whether to buy the Leica Q or buy the new Summilux-M, which is actually more expensive. My answer is “it depends!” It depends on price (US$1500 difference) or how you like to shoot and whether you want a second camera. Personally I prefer to shoot on an M, regardless of the better sensor used in the Leica Q. Image quality is important to me, but picture quality and the shooting experience is more so. I love shooting with a rangefinder and while it has a lot of drawbacks (compared to the Q) like I experienced in shooting Muay Thai, I still prefer the feel and manual focus elements enough to accept what I cannot change in the M.

Another difference between shooting the Leica M240 and Summilux-M 28/1.4 ASPH vs the Leica Q, is that the Leica Q files come out of camera with more vibrant colours and slightly higher contrast. This may no may not affect your decision if considering either of these two fine tools. Finally, the one major factor to consider is that the Q’s electronic rangefinder not only shows 100% of the frame without lens blockage, but it also shows you the exposure and correct 28mm perspective, whereas the M does not, which can be very frustrating. The Q also has macro focus ability using the maximum aperture of f/2.8, and of course AF, which could be the deciding factor for many.

On the flip side, the constant use of EVF and/or LCD can be draining on the battery, which is quite average compared to most cameras so extra batteries will need to be stocked up. Long story short, if you can afford it, buy both.


My long 21 year wait for the Leica Summilux-M 28/1.4 ASPH has been well worth it. I’ve always been more of a 35mm user, but while the Summilux-M 35/1.4 ASPH FLE is a great lens it’s never really got me excited. It’s sharp and has very neutral rendering but I always preferred the Summicron-M 28/2 ASPH due to it’s soft rendering and smooth character. The new 28 Summilux-M has combined my two favourite lenses into one and delivers big time. The only real flaw I found was that like most lenses, it is prone to purple fringing in high contrast situations, which is easily removed in Lightroom in 2 seconds.

At about US$1500 more than either a Leica Q or a 35 Summilux, it’s arguable whether that figure represents good value for money or being too pricey to consider. From my experience with this lens, and having used lenses like the Noctilux and 50 APO which cost a lot more, I think the Summilux-M 28/1.4 ASPH represents fantastic value for money – considering that value is represented by the effort the user makes to use the lens to the best of their ability. A photographer and his tools are only as good as the opportunities he/she creates with them.

If you are after a fast 28mm M lens, there is no substitute, no alternative available. If there was, they would be trembling with fear because the Summilux-M 28/1.4 ASPH is the real deal. Think 50 APO incredible, and there you have it – it is THAT good!

Be sure to visit Kristian’s Blog HERE!

You can buy the Leica 28 Summilux from any of my top recommended Leica dealers below:

Ken Hansen: Email him at [email protected] Website

B&H Photo

Leica Store Miami

Jul 272015

Bali with the Leica Safari kit and the Noctilux

by Aditya Agarwal

Hi Steve,

This is my third post to your excellent and very useful website. I am submitting todays report not just to show my work but also as a thanks for all the reviews and articles which benefited me a lot. (THANK YOU Aditya! – Steve)

I visited Bali in June 2015 with my family. While packing for the vacation, I came around the idea to carry just my Leica Safari along with the 35/Summicron and 50/Noctilux. I have the Sony A7II on which I use the Leica lenses regularly, but I wanted this trip to be a test. A test for finding out if the Leica can be my only travel camera against the Sony with all its bells and whistles. I feared that I will miss out on the more advanced technical features of the Sony. It was a tough choice, but I kept to it. After 7 days in Bali, the results were nothing short of fantastic and moreover strengthened my faith in the Leica system.

Mount Batur – The active Volcao at Bali – Shot from the flight.
Leica Safari, 50mm Noctilux, f/8, ISO 200, 1/1000


The Egg painter. Shot at an art gallery at Ubud, Bali
Leica Safari, 50mm Noctilux, f/0.95, ISO 200, 1/500


Uluwatu, Bali. the other side of the temple. HDR
Leica Safari, 35mm Summicron, f/13, ISO 200, 5 Shot HDR


I am taking the liberty of including a fourth picture. This was shot at the Uluwatu Temple where a Kecak Dance is held every evening. I was worried that I won’t get any shots in focus as the dance is quite fast paced. Not only did I nail the focus, I took shot at f1.8 with the Nocti. It was a awesome feeling.

Kecak Dance at the Uluwatu Temple
Leica Safari, 50mm Noctilux, f/1.8, ISO 1250, 1/90


I am now pretty convinced that this is my go to camera setup for almost every shoot. I do plan to upgrade to the Sony A7RII mainly for landscape photography.

Once again, thank you for igniting my interest in mirrorless cameras through your wonderful site. My work is viewable on


Aditya Agarwal


Jul 242015


Olympus EM1 + Sony A7s – Still my favorite Combo!

By Neil Buchan-Grant

Hi Steve

I thought I’d share some new images with your readers. I’m still loving the Olympus EM1 and Sony A7s although I have to say, since the Olympus 40-150mm zoom and the new 7-14mm zoom came out, the Oly has had more use. I also recently bought the Oly MC-14 1.4x tele converter for the big zoom and for me its performance in terms of resolution and sharpness underlines the big range now offered by the Olympus system. These 3 PRO zooms give me pretty much all I need for general travel work and the 12-40mm has all but replaced my wide primes with no loss of image quality. I still only tend to get the A7s + Leica M 35mm or 50mm f1.4 Summilux’s out when I’m out at night or I’m shooting low light work but with these lenses it still offers something a bit special.

My friend a few weeks before giving birth – EM1 – 12-40mm 2.8 PRO @ 25mm – available light and off camera flash



My friend and her baby girl who had just had another lifesaving operation only days after her birth – Sony A7s Leica M 50mm 1.4 – mixed available light


My friend holding it together by reading Winnie the Pooh to her baby girl who was still gravely ill only one week after her birth – Sony A7s – Leica M 35mm 1.4 – mixed available light


My work here is a mixture of commissions and personal shots ranging from an architecture job in Oxfordshire, corporate portraits and a trip to Wimbledon tennis championships to some intimate portraits of my friend Scarlet and her baby, Frida. The baby had a traumatic and complicated birth and had to be resuscitated several times in her first few days. Thankfully she’s doing brilliantly now and is thriving! Thanks again for the opportunity to share these with your readers and keep up the great work! If anyone is interested, I have a new, short program of workshops on my website here:

My friend and her baby Frida who was finally out of harms way and seemed to be enjoying her new world – EM1 – Leica DG 25mm 1.4 – window light





Frida just a few days ago, now 2 months old and currently my favorite model! – EM1 Leica DG 25mm 1.4 – window light



The Prado Museum in Madrid during a quick break – EM1 12-40mm 2.8 PRO @ 15mm


A late night bar in Madrid – Sony A7s Leica M 35mm 1.4 – available light


A studio portrait of the actress Hetty Baynes Russell, who was married to Ken Russell the British film director. – EM1 12-40mm 2.8 PRO – continuous light through 4ft softbox



Another shot of Hetty – Sony A7s Leica M 50mm 1.4 – window light


A photograph of a rather special Barn design in Oxforshire at dusk – my friends Arthur and Kate were the architects who designed it – EM1 7-14mm 2.8 PRO @ 7mm


The same building during the day – EM1 7-14mm 2.8 PRO @ 7mm


A model in Prague – EM1 Leica DG 25mm 1.4 – window light and reflector



A corporate shoot in London – EM1 12-40mm 2.8 PRO – Off camera flash




Self portrait in the studio – EM1 12-40mm 2.8 PRO @ 35mm – continuous light through a 4 ft softbox and reflector



Britain’s number one female tennis player Heather Watson winning her match at Wimbledon – EM1 40-150mm 2.8 PRO with MC-14 @ 420mm (effective length) wide open at f4


Another self portrait in my garden – EM1 7-14mm 2.8 PRO @ 10mm – available light and off camera flash


A tree surgeon working behind my garden – EM1 40-150mm 2.8 PRO + MC-14 @ 420mm (effective length) wide open at f4


The same shot as above from the same spot, the tree surgeon is just visible – EM1 7-14mm 2.8 PRO @ 7mm


OLYMPUS DIGITAL CAMERA where you can join me in Berlin, India or China/Tibet over the next 10 months!

Jul 232015

Getting Acquainted with the Mamiya 7

By Andy Gemmell

Hi Brandon

After “scratching my itch” with the Leica Monochrom, I sold it 18 months ago and decided to give “film only” a go for a while. At the time I wanted to also try a medium format option and coming from a rangefinder and wanting to enjoy a camera which I could still carry around easily the Mamiya 7 seemed like a great choice. The Mamiya lenses are also superb and although possibly over shadowed by Zeiss and Pentax to some extent….they really shouldn’t be!

The camera itself is in a 35mm “style” of layout (conventional winder, back door loading of film, shutter dial on top of the camera, etc) and although not built of metal or alloy it is still well built and sturdy and could take some knocking around. One of the big benefits of this MF set up (unlike the Hasselblad V series) is the shutter mechanism (quite a s mouse) and ability to given no mirror to shoot handheld down to 1/15th (and possible even lower!) without disturbing the image. The lenses though are not fast and come in at 4 to 4.5 depending on what one you are using. I have the standard 80mm f/4 and the 50mm f/4.5 (keeping my Zeiss 25/28mm finder from the M days to use with this lens).

Unfortunately for various reasons I have not been out and about shooting as much as I’d like to, though have run a few roles of Tri-X and Portra through the Mamiya in street photography situations in Melbourne where I live. I personally haven’t really gelled with it, to be honest and it may be not having used it enough. Also coming from the MM as a much smaller 35mm option the adjustment is more than I had imagined. All up though I’d highly recommend it as a serious option to consider in the MF film world.

Have a great weekend!


Starting Blocks – Tri-X 80mm

Rest – Portra 400 80mm

Sundays at St Kilda – Portra 400

Breakfast on Spring Street – Tri-X 80mm

Spare Change – Tri-X 80mm (testing it too the limits in very dark alley at f4 and 1/15th handheld)
The Jetty – Tri-X 50mm

Morning Gold – Portra 400 50mm


Jul 202015

Getting a Grip on the Leica Q: The Match Technical Thumbs Up EP-SQ grip Review

By Ashwin Rao

Hi everyone,

I recently had a chance to test out a production proof of the Thumbs Up EP-SQ grip for the Leica Q. For those of you who aren’t familiar with Match Technical’ s Thumbs Up grips, they are mountable on a camera’s hot shoe and provide a nice firm rest upon which to rest the thumb. Many people who shoot Leica cameras, which can be slippery in hand at times, prefer to add these grips to the camera. They act similar to how the film-advance levers of days-gone-by work as thumb rests. I can honestly say that this is a great ergonomic addition to the already fantastic Leica Q, adding that little extra bit of purchase that makes Match Technical’s Thumbs Up grips so popular.


One “criticism” of the Leica Q is that the thumb indent, which Leica astutely placed on the camera’s rear, is a bit too far off to the edge of the camera and creates hand fatigue if solely used for gripping. I definitely found this to be an issue and addressed the issue in part by adding Leica’s own baseplate/grip. The EP-SQ design uses the indent as a method for securing the grip in place, while adding a nice rest that places the photographer’s thumb in a more comfortable position for shooting.



One important added benefit of this Thumbs Up is that its design limits inadvertently bumping the Diopter adjustment dial(adjacent to the EVF), which often does go out of whack without protection. The grip effectively limits access to this dial, which is a good thing, as it prevents shirts or other factors to bump the deal and cause your EVF to be thrown out of focus.



Unfortunately, by mounting the Thumbs Up EP-SQ on your Leica Q, lose access to the hotshoe, but with the Q’s ISO capacities, a flash is rarely needed. This, to me, is a small price to play for the ergonomic benefit of having a better grip on the camera.As an owner of the Thumbs Up Grips for the Leica M8, M9, M240, M246, X1, and Fuji XPro-1, I can confidently say that that Thumbs Up EP-SQ does much of the same for the Leica Q as it does for those cameras….it adds a nice secure grip if one feels that they require more than the Leica’s own offerings.



I personally use the Thumbs Up in conjunction with Leica’s baseplate grip, for a really firm grasp and a camera that’s well balanced for me (not front heavy). However, may prefer to use their cameras with just the Thumbs-Up Grip, and I can confirm that using the camera in this manner feels quite secure as well.

Below are a few more pictures of the grip. I have been a fan of the Match Technical’s Thumbs Up designs for nearly a decade, and I suspect that you too will enjoy the experience of using a Thumbs Up on the Leica Q.


You can find pre-order options for the EP-SQ through Match Technical’s own site, or through many of Leica’s own authorized dealers.

Steve’s Leica Q Review – HERE

Ashwin’s Leica Q Review – HERE

Jul 182015

Great Sale on Voigtlander  Lenses at CameraQuest!

Stephen Gandy over at is having a FANTASTIC sale on all Voigtlander lenses for M mount and micro 4/3!!

ALL sale lenses bundled with a Premium B+W Nano 007 Filter! All have free expedited shipping. Lenses over $600 have free Next Day Shipping to most lower 48 locations. Sale available for North and South America only.

Screen Shot 2015-07-18 at 11.39.34 AM

Voigtlander Micro Four Thirds Lenses

17.5mm f/.95 $1200 now on sale $900
25mm f/.95 VII $1000 now on sale $800
42.5mm f/.95 $1000 now on sale $800

Voigtlander Leica M Lenses

12mm f/5.6 Leica M $750 now on sale $700
21mm f/1.8 Leica M $1200 now on sale $1050
28mm f/2 Leica M $630 now on sale $600
35/1.2 VII Leica M $1200 now on sale $1000
50/1.1 Leica M $1000 now on sale $900
50/1.5 Black Leica M $900 now on sale $800
50/1.5 Chrome Leica M $1050 now on sale $950

SL II Lenses for Nikon and Canon EOS

20mm f/3.5 Nikon $550 now on sale $500
20mm f/3.5 EOS $530 now on sale$500
28mm f/2.8 Nikon $500 now on sale $480
28mm f/2.8 EOS $500 now on sale $480
40mm f/2 Nikon $500 now on sale $450
40mm f/2 EOS $550 now on sale $450

Jul 162015

READER QUICK SHOT: Sony A7 and Vintage Leica 35 Summilux

By Martin Bray

From Steve: This “Quick Shot” will be a new series much like the daily inspiration but with ONE SHOT only. If you have ONE SHOT that you love, send it to me with a description of the shot, what you used to take the image and why you like it. I may post it as a “Quick Shot”! Send to me at [email protected].

I love the shot below as I am a huge fan of Environmental Portraits. Seeing this man in his workspace tells the story of his daily life and routine. I think it is a fantastic image, and captured with one of the coolest lenses ever, the old vintage 1960’s Leica 35 Summilux!

Dear Steve,

I drop into your site every few days to find out what people are up to, especially with the Daily Inspiration, many of which prod me to get out and about with a camera. This week I was doing some local town shots for a friend who has a gift shop and wants to start a small gallery. I was taking a picture of an interesting door when the owner appeared and invited us in to what turned out to be his goldsmith studio. I took this image on a Sony A7 with a 1960s Leitz Summilux 35mm f1.4 (ISO 2000, 1/60 sec, f4 – natural light only) – I just like the look of the man in his studio with all the organised clutter that you get in these places.


Thanks for looking!

Martin Bray

Jul 152015

Leica Tri-Elmar 28/35/50 Ver 1.0 on a Sony a7

By Sunil Mehta

Hi Brandon and Steve,

In the past I have used the Leica Tri-Elmar Lens on a Leica M6 body. With the arrival of digital technology and due to less and less availability of films and also Leica digital bodies being expensive this lens was not in use for many years. I also moved to Nikon/ Fuji etc… When Sony dropped its a7 price to $998, I bought one just to put back this lens in use. With this lens and the Sony A7 I recently visited “Mission San Juan Capistrano” in Orange County, CA. It’s an interesting place, I attached a few photos of the Mission and the streets around it. Hope your readers will like it.

Technical detail:

Lens: Leica Tri-Elmar-M 28-35-50mm F4 ASPH – Silver / v1 / E55
Camera: Sony a7 with Metabones M-E Mount.
RAW conversion in LR and Silver Efex for BW.
In situation like this, on a bright day I focus using Zone Focusing, aperture always at f8 or f11, ISO 200 and let camera decide shutter speed, for Indoor shots I change ISO.

I regret not carrying a Tripod and ND filters.

Thanks and best regards,

Sunil Mehta








Jul 132015
tyninghame july 2015-22-Edit

Fingers Crossed: Leica Q Landscape Impressions

By David Nash

Leica Q_Production_2_cmyk

I have to come clean: despite happily sticking with the wonderful Nikon D800e since it came out – and having no wish to change it in the forseeable future – I’ve bought and sold so many “small” cameras over the years that I’ve never settled with. To rub it in they’re all still there to remind me, listed every time I open in my Lightroom metadata tabs. Mmm.

Then along comes the Leica Q and seems to tick so many boxes: weight, size, IQ, DNG, fast sharp lens, full frame, fast autofocus, real dials, build quality, and very important for me with varifocal glasses – a really good built-in EVF (not an ugly plastic one to stick on top!).

Oh, and there’s one more key requirement for a walkabout camera: I have to be able to take photos one-handed while holding leads for to 25kilo poodles in the other hand…….

But like many I was initially slightly put off by the 28mm as opposed to 35mm which seemed about right for a general purpose carry around camera – and also by the emphasis in reviews on street photography (Not my comfort zone. I prefer trees – they don’t move so readily). Then I thought it through – I can easily crop to 35mm and still easily print A3+ and larger, and I can zoom with my feet.

So I took the plunge. Below are some of my first shots. A little work in Lightroom for the black and white images, and I’ve included at the end a color landscape, more or less as shot.

tyninghame july 2015-16-Edit

tyninghame july 2015-22-Edit

tyninghame july 2015-8-Edit

tyninghame july 2015-11-Edit

Touch wood, this really does seem to tick all the “small camera” boxes for me. Your needs might be different. Your dogs might be smaller and lighter than mine. You might not wear varifocals and be happy without a viewfinder.

tyninghame july 2015-40-Edit

Yes there are quirks. I don’t get why there are no tabs on the menus so you have to scroll through them all, why you must have jpegs whether you want them or not. The auto white balance seemed strange at first (7500k in sunlit scenes??) but it does actually seem near enough right. And yes it is very, very expensive.

But the bottom line is so easy to use casually, and fantastic IQ from a fantastic lens. For once Leica seem ahead of the game and listening to potential users. So maybe, just maybe, this one won’t be going on eBay in a month or so…

Thanks for reading and thanks Steve for your great site!

David Nash
Edinburgh, UK

Jul 082015

The crazy colorful world of the LOMO LC-A Art lens

by Huss Hardan

Hello Huffsters!

Brad Husick wrote a nice initial impression piece on the new LOMO LC-A Art lens. A pancake lens, rangefinder coupled for M mount cameras. Which also means that with adapters it can be used on almost anything.

It’s the cheapest, new with full warranty (2 years) M lens currently available. The parts come from Russia (nothing like your Nikon D610), and the bits are assembled in China (just like your Nikon D610).




Anyway, enough of the small talk. What’s it like? Well….it’s meant for use on film cameras which is what I really bought it for – to use on a Leica MDa (a Leica M4 without a rangefinder or viewfinder). So on a digital Leica like my M it will smear in the corners just like any wide-angle non Leica manufactured lens (think most Cosina Voigtlanders). It will give wild colour casts and deep saturations. It will give sharp results in the center, not so much away from it. It will give some hefty barrel distortion.





Much of this – the colour casts, the distortion – can be fixed post. But that defeats the purpose of this lens, as if you are going to do that you will just be left with a mediocre boring lens. Instead of a mediocre interesting lens!

It is the flaws that what make it, and so should be embraced. Otherwise shop elsewhere.

Of note: In the images here I did not boost colour saturation. This is what the lens does. I also noticed that I had to increase exposure by one stop in auto mode on the M.










All images were taken the day I got the lens, down the street from my gallery – – in San Pedro, CA. Come visit us, it’s lovely!

Peace out



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