Jul 272015
 
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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

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

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

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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

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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 www.adityaagarwal.me

Regards

Aditya Agarwal

 

Jul 202015
 

READER QUICK SHOT: Leica M240 and 50 Noctilux

by Tom Woods

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]

Dear Steve:

For your consideration, here’s one shot that I like, probably more than any other.

Shown are my neighbors Dick and Kathy Ralston in their hot tub. This photo was taken one week after Kathy was diagnosed with terminal pancreatic cancer. Dick and Kathy asked me to take this photo before Kathy started chemotherapy and her hair fell out.

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Details: Leica M240 + 50mm 0.95 Noctilux.

Thanks, Steve, and please keep up the good work. I love your posts and articles.
Best,

Tom Woods

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).

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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.

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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.

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

Peace out

Huss

May 232015
 
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The Leica M 60 Special Edition. Now $2200 OFF!

THE LEICA M60 – $2200 OFF. Now $16,280 with the special stainless steel 35 1.4 Summilux FLE. Previous price was $18,500. So if you have been lusting after this one of a kind digital M 240 without an LCD, without any special modes, without a JPEG mode, and with a unique design, NOW is the time to get one. Yes, it’s a bank account buster but there are many out there that want this (I know, I spoke with quite a few of you). It will not get any cheaper than this for a new in box M60 edition!

Buy it HERE at B&H Photo. 

“Blending a minimalist approach to digital imaging, the Edition “Leica 60″ of the Leica M (Typ 240) is a digital full-frame rangefinder camera designed with an emphasis on the four basic elements of photography: shutter speed, aperture, ISO, and focus. With each of these controls manually adjustable, the Edition 60 omits digitally-conventional elements of design for a pared-down approach to shooting. No rear LCD monitor and no menu system avail a clear and direct method of working, with the only means of recording being an uncompressed DNG raw still image file. Offered in a special limited edition of only 600 units, and paired with a unique Summilux-M 35mm f/1.4 ASPH lens, custom camera cover, and a handmade presentation box, the Leica Edition 60 serves as an apt summation of the founding principles of the Leica M system, and the basic elements of photography as well.”

Apr 302015
 

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Angelo Pelle Cases for the M 240 and Sony A7II (Video)

After acquiring a Leica Safari M 240 set I went to the website of Angelo Pelle to see what he had to offer in the form of a half case for the green Safari. I knew I wanted something different, something unique and something besides the usual black or brown half case as the Leica Safari is a sort of Army Green color. After perusing his website for a while, and after owning a fantastic brown leather half case for my Sony A7II that Angelo made, I found the half case AND bag that I wanted from him for my Safari M.

Camouflage.

See the video below to see the case and bag

I decided to order his “Henri Bag” which is a small design that will hold your Leica and small lens as well as one more lens to bring along, and that is about it. I asked for BOTH in Camo color (though if I could go back I would get the case in CAMO and the bag in Black) and in less than 2 weeks I had the custom set at my door. I have had my share of half cases for Leica M cameras. Gariz, Arte Di Mano, Luigi,  Artisan & Artist, Leica’s own cases and a few cheap options that all fit loose and sloppy. I always have said “you get what you pay for” and this holds true with half cases for the Leica M. Usually.

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The best fit cases I have tried until now have been the Arte Di Mano line, but man are they expensive. (then again, so is a Leica M). Luigi cases are gorgeous as well but a tad on the thick side and Leica’s own cases are the worst of the lot with sloppy fits and odd designs.

As for Angelo Pelle, his cases are right up there at the top when it comes to quality, design, fit and finish. When I received my Camo case for the Safari I was stunned at the quality of Leather used as well as the “fit like a glove” design. It offers nearly full protection for the camera, most I have seen for a half case as it come all the way up to the top and even covers pretty much all of the rear bottom, top and sides. There is even a flap to cover the LCD if you want to do that. I have been shooting the M like this, and it is pretty cool to ignore the LCD!

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Angelo’s products are top notch, best rating I can give. He is a friendly guy, offers unique options and all products of his are hand made in Italy. They fit perfect and feel fantastic. The Leica case has a built in grip that allows a nice feel, and this really takes it up a notch as well.

His cases are not cheap, but they are not the most expensive either. I find them to be the best I have used, and for quality Leica leather cases, price in the upper middle of the range. Less expensive than Art De Mano and Luigi and well worth the cost IF you are looking for a high quality beautiful case to protect your camera and give it a nicer feel when you are using it.

You can see Angelo’s website HERE. He has quite a it to offer and makes cases for many cameras. My Angelo Pelle Sony A7II case is superb, amazing. It is wearing in nicely as well. The only weaknesses I found with these cases is that once they are on you lose access to the battery and memory card until you take the case off. This is how 99% of cases are though. Me I shoot all day, come home and then take the case off once to get my card and battery. No problem.

Apr 022015
 

There is no “I” in Team

by John Tuckey

Team Efforts

I wouldn’t advise anyone to overload a shoot with unnecessary bodies. The fewer people cluttering your space, the better. The less people to organise the better. It’s an absolute if you’re trying to create a sense of intimacy or intrigue and a simple practicality when you’re working to a budget or a tight time scale as most of us are. But ‘one man and his lens’ is not always enough – indeed, modern professional work is hardly ever created so. It’s a creative collaboration between the photographer, an art director, a stylist, a make up artist, a hair stylist, a lighting technician and possibly a set dresser. That amazing image in magazine ‘X’ is usually the result of a tight team who have a good working dynamic – not ‘one man and his lens’.

If you’re thinking about crossing this river and working your shots with a team it can be daunting at first. My advice is to keep it simple and pick your team carefully, don’t waste your resources and know who you can and can’t live without. I get my moments, but I’m still no pro – so I won’t worry about an assistant until i try a complicated location set-up. And a stylist isn’t even on my list unless I get involved in a commercial fashion shoot and the client specifically requests one – and even then they will probably be chosen by the art director.

So I’d suggest that for an amateur or hobbyist, the bodies to make sure you have covered on a model orientated shoot are the make up artist and the hair stylist. Sometimes the model can cover this off herself, but indispensable doesn’t even come close to describing the best I’ve worked with. And without even thinking I can give you three very good reasons why they’re always worth stretching the budget for.

Transformation

A skilled makeup artist can simply transform a face. Try these two of Emily, one with ‘normal’ self done makeup and the Next from a Make Up artist.

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The Devil is in the Detail

Much of my work revolves around vintage themes. Having the right make up or a particular hair style makes the world of difference. In these portraits of Olivia, the lighting may well have achieved the look on its own, but the work of the hair stylist in those thirties style fingerwaves added the polish – making the vintage feel of the final image effortless and complete.

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Tricks, Shortcuts and FX

These Lonsdale shots aren’t just about beauty and boxing, but also strength, character and control. The make up artist on this shoot pulled the FX off with ease: Jammy the model was engaged with the concept and we got some great shots as a result.

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Saving Time in Post

Doesn’t digital mean make up artists are a waste of money? If you don’t think of the hours you’ll spend in post-production as money, then I’ll grant you that a hair or make up artist might not be your best use of budget. But I’d rather get it right for real on the day and trade that time in front of a screen for more time with a camera thanks – a good MUA allows that.

If you are interested in my images or my workshops you can follow me on facebook at http://www.facebook/jrtvintage, on twitter where I’m @jrtvintage, at my own site at http://john.tuckey.photography or on my gallery page at Saatchi Art http://www.saatchiart.com/jrtvintage

Credits:

Models: Emily, Olivia Harriett, and Jammy Lou
http://purpleport.com/portfolio/oliviaharriet/
http://purpleport.com/portfolio/raspberryjam/

Emily and Jammys Make Up: James Minahan

https://www.facebook.com/pages/James-Minahan-Makeup-artist/482722908502345?pnref=lhc

Olivia’s Hair: Le Keux Salon
http://www.lekeuxvintagesalon.co.uk/
Best regards

John Tuckey

Mar 272015
 

One Camera, One Lens and One Faraway Destination

By Fahad A

Hey Brandon,

Thank you for featuring my previous post I shared earlier this year.

Last summer I decided to go on a quick vacation somewhere far, somewhere I have never been before or even thought about visiting. Looked up the map, found Korea to be distant, far, interesting and not top of mind destination for someone who wants to roam around and take pictures.

Without any preconceptions about South Korea, I took a plane to Seoul, accompanied with a small suitcase that barely carries a couple of shirts, and a backpack that for my laptop and camera.

Few hours before the flight, I had a quick debate with myself about which gear should I take along with my Leica M + Summicron 50mm (V4), should i take the tiny Fuji 100s ? or should I take along the Nokton 35mm 1.2.

I decided to keep both Fuji and Nokton lens at home. went to Seoul with only one camera, and one lens! which means I’m stuck with 50mm focal length for the entire trip.

Did I regret it? I don’t think so. I enjoyed the limitation of only one lens. and how I should adapt with the focal length rather than replacing it or take out another camera with a different lens whenever I need to.

I might have missed few shots that were easier with a wider lens, however I’d sacrifice them anytime for the experience I got from limiting myself to 50mm.

Fahad A

For the full set, please take a look here:

https://www.flickr.com/photos/fahad85/sets/72157648593556971/

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Mar 202015
 

Battle of the Champions. Part 2. The Leica 50 APO.

by Brad Husick 

See Part 1 HERE.

At the request of several readers, I have conducted some new tests using the Leica 50mm APO Summicron f/2 lens on three camera bodies: the Sony A7II using the Voigtlander VM-E Close Focus Adapter, the Leica M240 and the Leica Monochrom.

All these are shot RAW, wide open at f/2 and indoor shots are at ISO 1600, outdoor at ISO 200. All other camera settings were left on AUTO (WB, exposure, etc.)

The photos in this series are taken from the same positions in the same composition as the previous “Battle of the Image Champions” article, so I won’t include the full frames here again. These are all 100% crops and are labeled with the camera used. The indoor lighting matches the previous series. The outdoor conditions were overcast today, no wind.

The comparisons that include the Monochrom use a simple 100% desaturation in Lightroom rather than a more ideal black and white conversion that I would use if these were meant to be shown or printed for their artistic qualities. Again, these are not meant to highlight my skills as a photographer but rather to show the differences between cameras using the same high quality lens.

Enjoy and good shooting. -Brad

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Feb 202015
 

Pre-Order the Leica M-P 240 “Safari” Edition

Leica is at it again and this time they have created a special edition Leica M-P Type 240 giving it the Safari treatment! I remember the M8.2 Safari Edition and today we have the latest and greatest M in the famous Olive color. This one comes with a 35 Summicron lens with round hood, a genuine leather strap and even a leather SD card holder. This is a limited run and will set you back a cool $10,000 or $1000 LESS than a standard M 240 and 35 cron, and you do not even get the extras with the standard version. So this is actually a bit of a ‘deal’ for a unique M 240.

Again, Normal price of a Leica M-P 240 and 35 cron? $11,000! So for this SE set you are saving $1000 and getting extras such as the strap, wallet for your SD cards and the unique round hood for the 35 Summicron. Not bad as usually these special editions are coming in at $2-$4k MORE than the standard pricing.

 

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From the PopFlash.com website:

Leica Camera presents the Leica M-P Set ‘SAFARI’. This set comprises of the Leica M-P (Typ 240) Safari edition, Leica Summicron-M 35mm/f2 ASPH with round metal lens hood, a full grain cowhide carrying strap and matching SD & business card holder.

Leica’s safari/olive edition cameras date back to 1960 with the Leica M1 ‘Olive‘. Made initially for the military, the safari/olive cameras’ unique color stands out. Over the years, a handful of safari/olive editions were produced. Many of these limited edition cameras are highly prized collectibles.

The Leica M-P Set ‘SAFARI’ has an olive lacquered top cover, leatherette and bottom plate. The shutter speed dial, the On/Off switch, the release button, the hot shoe and some other details have a silver finish. The engraving on the top cover is reminiscent of the first safari camera in 1960 and has the classic Leica logo inscribed on one line and the wording ‘WETZLAR GERMANY’ on the second line. The 35mm/f2 ASPH has a silver chrome finish with a matching classic round metal lens hood. This set comes in a new packaging including a presentation box.

For the record, used M8.2 Safari kits go for anywhere between $7-$9k, and it also sold for $10k when new. So if you buy this, use it for several years you may only lose $1-$2k when and if you ever sell it. Not bad for 5 years of use. That is the lowest depreciation I have seen with any digital camera gear.

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You can preorder the new M-P 240 Safari Set at PopFlash.com HERE. 

You can also order it though Ken Hansen ([email protected]), The Pro Shop, or Leica Store Miami. 

There will only be 1500 sets made.

Feb 202015
 

Friday Film: Making a Case for the Voigtlander Bessa

By Michael McFaul

Hi Steve!

Wanted to share a post on my views of this wonderful little camera.

With the purchase of the Bessa in early summer of last year, I’ve had several months to put it through its paces. It has gone through about 4 dozen rolls of film, family trips, two different lenses, the occasional groans of angst and the multiple feelings of joy. Yet, I still love this camera.

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My positive experiences with the Bessa has led me to purchase of the Voigtlander 21mm f/4 and a soon to be purchased 75mm f/2.5. One main positive is the camera’s heft. It is just a solid, dense camera; coming in at a clean 1lb. And yet if one were to look at stock photos of the Bessa on camera sites, it would come across as cheap and plastic-y via the stock image. Not at all. The body is solid metal with the film spool, shutter button and advance crank being the only items that are plastic. I think. Nonetheless, outside of the occasional battery change, this camera will last you for many years.

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Another positive is the camera’s ergonomics, it just fits into the palm, thumb, and fingers of my hand. The raised rubber grip on the back of the camera works comfortably with the palm of my hand, allowing the thumb to rest against the grip. Initially, the placement of the strap lugs were of an annoyance, yet after several uses, you realize the importance of its location; for it allows you to place your index finger on the trigger, with the lugs between your index and remaining three fingers, allowing them to wrap nicely around the camera’s body. However, the positioning of the lugs slightly below the top plate of the camera means it faces slightly skyward when hung from the straps around your neck.

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I will say that the camera’s 1:1 finder ratio really is fantastic. It’s bright, big and clear. Yet when it comes to shooting with 40mm lens, I tend to wear contacts. The 40 frame lines within the finder are inconveniently tucked into the upper corners of the viewfinder. And if your strictly a glasses wearer, you’ll have a difficult time framing your image for you’ll find yourself having to poke your eye up/down, left/right to get correct composition. Non glasses wearers, no problem. But I will say that tucked within the 40 lines is a 90 as well, and it really acts as a helpful composing tool; it’s perfectly centered with the 40. Additionally, if you’re primarily a 50mm shooter with a stock pile of Leica, Zeiss, Jupiter, Canon or Voigtlander lenses, this camera is for you. I can’t recommend it enough. You’ll be given the 50 frame lines, nice and clean with no 75 or 90 squeezed within it. And whether you wear glasses or not, you’ll be able to see the 50 lines through the viewfinder. Plus it’s obviously much larger than 0.72/0.85 finders from Leica. Just for this reason alone, I’m considering the sale of my 40/1.4 to help fund the purchase of a Zeiss 50/1.5 Sonnar. I want that ‘classic’ Zeiss ‘3D’ pop! :)

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Anyhow, if there’s one thing that’s still taking some getting used to, it’s the camera’s metering. I’ll admit a lot of it is user error, too. Upon further research, I’m learning that it’s a rangefinder thing as well. Previously I shot a lot in AE mode and felt I was getting 7 to 8 frames per 36 roll over exposed. Lately, to the benefit of me and learning, I’ve mainly been shooting in manual. Even then, as a predominantly b&w shooter, I’m learning to meter for the grey/mid tones within the scene and I’m having a lot more success.

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Some of the photos enclosed are from Ilford HP5 pushed to 800 and Tri-X at box speed. I believe every image was done with a B+W yellow/orange filter, too…which I highly recommend. It helps cut through haze, sharpen the image, give a bit more contrast, darken the sky, and lighten the skin tone for portraits. Plus, it acts as a ND filter with a 2 stop exposure comp…especially helpful with any Leica film M and their 1/1000th top speed. Which by the way, is another positive of the Bessa, it’s 1/2000th top shutter speed. I have developed a few rolls in the past myself with Ilford DD-X, but I own a terrible scanner (along with a general knack for being impatient) and have an overall distrust of pharmacy photo departments. All these shots were developed and scanned through a company called Indie Film Lab. It’s pricey, but for special occasions, it’s worth it. There is also a lab called Little Film Lab that’ll scan your already developed negatives on their high-end scanners at a reasonable price, which is where I send my developed b&w rolls.

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For those that enjoy shooting at a 50mm focal length, along with a collection of 50mm lenses and enjoy shooting film…I’d certainly give this camera consideration. For others that have never really forayed into film and looking to experience a rangefinder…I’d give this camera consideration. If anything else, this camera has temporarily shutdown my GAS and constant research for new cameras. The Oly EM5 is somewhat collecting dust on the shelf (love this camera and its color output), but it’s not going to be replaced anytime soon with the EM5 Mark II.

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That’s the short and sweet of it.

Cheers!

-Michael

Feb 172015
 

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The Leica M 240 – Plasti Dipped!

By Darren Wong

As an industrial designer, ux architect and general photo dude, I’m pretty fond of the processes and physical tools in which we create our work, be it our phones, computers, kitchen knives, pens, or cameras. These tools themselves can be a treasured item to be coddled or handed down to the next or an object that inspires confidence to go out and use them; some of the greater designs out there can be a bit of both. In the end though, tools are just that: a means to create something meaningful in our lives and possibly others.

However, as a lot of folks on this site and other gearheads know, we like to make the tools that we use our own complete with fancy or functional straps, bags, gaffers tape, bling, or sharpies. When the day came to upgrade my Black M9-P, I was presented with the opportunity to score one of the first Silver M240s here in LA and as soon as it popped out of the box, I stripped the red paint off the dot for an instant pseudo M240-P look even before Leica slapped a giant 300 dollar screw on theirs maybe a year later. Since then it’s never really left my side in my daily life and travels and his been a great companion scarred with use. However classic, iconic and beautiful any Silver Leica looks, I couldn’t help but feel it did indeed get a bit more attention while walking around and it was about time for an experiment.

I was looking for a solution that was preferably non-permanent and even though I’ve spent many of hours around model shops and paint booths, I was a bit less familiar with Plasti Dip, a spray-on or paint-on rubberized substance that’s graced the surfaces of workshop tools and used by custom car enthusiasts alike. Known for it’s grippy and durable finish, it’s also completely removable on most finished surfaces leaving little to no residue if the coating is thick enough (~2+ m). My biggest concern was the resolution of pigment in the atomized spray as I didn’t want to gum up any of buttons or internals. I took to the internets to find any information on spraying this stuff on cameras, but came up short with only a few dudes using them on GoPros, repairing camera bellows, and coating circuit boards – at least I knew it wouldn’t affect any of the circuitry if it did happen to penetrate. After a successful test on a beater Nikkormat, it was time to get down on the M240!

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[DISCLAIMER: Use this information at your own risk. I or this site take no responsibility messing up your camera. I have somewhat decent modeling experience but even I was a pretty cautious and/or crazy throughout the process.]

Supplies: M240, Pocket rocket blower thing, Isopropyl 95% alcohol, microfiber cloth, Plasti Dip, carbide Xacto, a standard ¼”-20 screw, some painters/artist tape, some toothpicks, and some scrap wood to mount the parts on. Not in anyway sponsored by any of the above products – brand names are just for contextual use.

With some quick masking of the middle section and a once over with an alcohol wipe to make sure the body was entirely clean (super important), in a well ventilated area away from dust, it took about 3-5 coats at 6 inches with a set time of ~15mins between coats, per surface starting with the small delicate parts first (buttons, toggles, small radii, etc.) and then moving on to the coating the larger body panels. Luckily with the pretty tight tolerances between the buttons and switches on most cameras, Plasti Dip didn’t seem to give me too much of a problem, the spray is thick enough to cover most part-lines without going any deeper or gumming up things like the menu buttons, shutter speed. About 45 mins after the last coat I took my Xacto knife and carefully score around all the (sapphire) windows and used a sharp piece of plastic to score around the non-glass edges. Using the toothpicks, delicately peeled away from all the parts I wanted to leave uncoated. It’s important to score, release buttons, and peel off the rubber at this stage as it’s easier to get cleaner lines around these delicate parts.

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Left to finish curing for another 4 hours or so, I’m pretty stoked. The result is an almost fully murdered out soft-touch rubberized Leica M240 with an overall grippier feel, a bit more durable, and best of all completely reversible! It’s definitely a process but possibly a nice alternative to sharpies, gaffed up bodies, and DigitalRev style pinkentas!

Thanks for letting me share Steve! Shouts to the Todd Hatakeyama and the LA Photo Gang!
Cheers,
Darren Wong

Twitter & Instagram: @sticboy
[email protected]
sticboy.com | zeroninefive.com

Cheers,
Darren Wong

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Feb 022015
 

Why I prefer the Leica M 240 over the M9/M-E

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(ATTN: I wrote this while on a flight and apparently when I grabbed the images from other areas of this site, it grabbed low res versions of them which is why they look pixelated and “off”. I will fix this when I have time, but am currently traveling. To see M 240 images, click here)

With today’s post from Photographs By Peter causing some conversation, I wanted to chime in with why I personally much prefer the Leica M 240 (my review) over the M9, but hey, this is my personal opinion for my tastes. For some enthusiasts out there (Like Peter), they are wanting Leica to create an M 240 style body with a CCD sensor. In my opinion, this will never happen, as the sensor for the next M is already in development, or at least it better be (and I would wager $20,000 that it is not CCD)! But with hundreds wanting a new M with CCD, I feel if Leica did this they would lose money, in a big time way, and here is why…

A new M body with a new CCD sensor would spell disaster for Leica. First, ISO would be crippled. In a world where cameras of today have ASTOUNDING performance in almost any light, and the cost is  1/10th that of a Leica M or M-E, well, Leica would get trashed, smashed, bashed and the camera would maybe sell 2-300 bodies but Leica is not interested in selling hundreds of bodies. They need to sell THOUSANDS of bodies and if they released a new M with CCD and something like a Micro 4/3 Olympus E-M1 beat it for ISO performance, then we would have a problem, and it would be disastrous for Leica.

Sure, the hardcore enthusiasts WANT this but it is an unrealistic WANT. Leica needs more than a few hundred enthusiasts to BUY into a new M, and let’s face it..if 2000 signed a petition saying they want a CCD, in reality only 10% of those would actually buy one and spend the money on it.

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I have done many side by sides with the Leica M 240 and old M9 and M-E and in EVERY single case I strongly preferred the M 240 files for color, depth, DR and well, just about everything, but to be honest, the difference is minimal when each file os processed correctly from RAW. The old M9 files has a tad more “snap” but it loses out in many other ways…well, all other ways. There are serious limitations to CCD sensors and me, I do not want to go back to that after being spoiled by cameras such as the Leica M, Sony A7s, Sony A7II, Olympus E-M1 and so on.

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Some who shot the M9 for 3+ years (myself included) moved to the M 240 and were disappointed immediately (My 1st day with the 240 was disappointment), but there is a reason for that. The files. When shooting the M 240 in RAW the workflow is 100% different fromwhat you would use with the M9. Many were using their tried and true workflow from the M9 on the M 240 and it was not jiving. It took me 2-4 weeks to really get down with the M 240 files, but once that happened, there was no going back for me.

debby1s

First things first, the body..no contest. Yes, it is a little thicker but it gives us SO MUCH more than the M9 body did in regards to function. AMAZING best of class battery life. Quieter shutter. Much nicer LCD and RF VF. Much nicer feeling construction and controls. Live view (though this needs improving big time) and a host of other features that made the new M body 100X better IMO.

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Then the files..rich, meaty, full, organic and full of Dynamic Range and soft color transitions. No more harsh blown highlights or offensive noise when shooting at ISO 800 or even 1600. Sure, they look more like full frame Nikon or Canon files (not really like either due to color signature) but they are easier to work with and rewards with more of everything. There is a reason EVERY camera manufacturer has stepped away from CCD. When the M9 was hot and THE IT camera, so many were saying “Leica needs a CMOS sensor”!!

iso 3200 on the M 240

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For me, the M 240 was and is a beautiful camera capable of so much more than the M9 and I will 100% predict that there will never be a full production M with a CCD sensor again. They may continue the M-E but a new M 240 with a CCD would eliminate so many buyers due to limitations. Leica would lose, and they do not like to lose.

Today, in 2015, sensor technology is still being pushed and we are not even close to what CAN be accomplished, but we will soon start to see some advanced sensors coming down the road for advanced cameras. For Leica to go back to the old CCD sensor would be “business suicide” as they are not in business to lose money, they want to make money. They could do a “Limited Edition CCD M” but that would mean a $15,000 camera.

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I “get it” that there are some enthusiasts who love their M9 CCD sensors, and I have massive respect for Peter as I feel he is one UBER talented photographer who really knows how to capture life, soul, emotion and those precious things many of us just do not “see” when looking through the camera. He is a talented guy who could use ANY camera and get results, but yet he loves his CCD M9. That says a lot right there and tells me that I am not “right”, I am just stating my “personal opinion” which is based on MY prefs, not everyones.

Another great friend of mine, Ashwin Rao, also loves his CCD sensors. So to be clear, what I am writing here is just opinion…my personal tastes. When I have done side by sides with the M and M9 at base ISO, the differences are minimal. More DR with the M, different color signature with the M and a teeny less “bite” which means the M9 puts out more contrast by default.

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What I Feel Leica Needs in 2015 and beyond…

In 2014 and 2015 other camera companies have been creeping into Leica’s territory. By that I mean SONY. When we talk of FULL FRAME sensors in a smaller mirror less body then we have to look at Sony. The sensors they use in the A7, A7II and A7s are phenomenal, and can better the M 240 in just about all areas besides the M color signature, which is unique with the M9 (more slide film like) and M 240 (more print film like). See my huge Sony A7II review here.

Leica needs a FIRECRACKER of a sensor for the next M (which should be a 2016 camera going by their timeline)  – they need ISO up to 12,800 USABLE. They need NOT more MP but to refine the color and quality that they started with the M 240. If they can get a super sensor for the next M as well as 100% improve the live view AND put in a hybrid EVF (RF and EVF with the flick of a switch) then they will have a hit.

If they do anything LESS they will not, and I fear for their future.

debbyat095

It’s funny…I love my A7s and A7II so so much that after using them non stop since each one was launched I stopped using my Leica M. I still use the M lenses on the Sony bodies but the M ended up sitting there being lonely.

I sold my M a month ago or so.

Do I regret that? I can honestly say, YES I do! I miss my M. I have been using them since the M7 and have never been without one during those years.

So for me, I possibly see another M-P in my future and even if I use the Sony’s more, it would be great to have the M again for those days when I get the rangefinder itch.

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Again, not taking away anything from CCD fans, but the reality is that in every single comparison between an M9 and M 240 file, the differences in “look” were minimal. The differences in ISO tests were not so minimal. Comes down to the M9 and ME having more contrast, less DR and this is where we get the extra “Bite”.

The M8, M-E, M9 and M 240 are all fantastic rangefinder cameras. Are the the best you can get today? No, e can get better for much less, but what we can not get is the Leica M experience in ANY other digital camera, period. For me, experience is part of the process just as much as getting the quality.

Only time will tell but if you want to sign the petition to bring back CCD, click here to go to Peter’s site and PUT YOUR NAME DOWN! I say it will never happen, but I could be wrong as anything is possible in life. ;)  Also, Leica TAKE A LOOK AT IT!

All images above are from the M 240 except for one, which is from the M9.

Steve

Feb 022015
 

Leica M: Back to CCD? Well, if you want it..then who knows?

ccdleica

While I personally love what Leica did with the M 240, and its sensor, and feel it is a huge step forward for the M series in every single way, even the sensor, there are still those who swear by the Leica M CCD sensor, such as the one in the M9 and M-E. While it is a crippled sensor in anything but base ISO compared to what can be done with the new CMOS sensor in the 240, there is a different look to it, a snap, that some miss with the M 240. Kind of like slide film vs print film with the M9 being the slide film :)

The M 240 sensor is more like the other sensors of today from Canon, Sony, etc while the old CCD M9 sensor is unique and in a class by itself as it offers a rendering unlike other cameras of today (at base ISO) which is why many miss the snap, crackle and pop they are getting with the M 240.

Peter from Photographs By Peter (Prosophos) has been trying to get a petition signed by as many CCD sensor fans as possible, and today he has over 400 of them. I have not posted to his petition in the past as I am one who does not want Leica to go back to CCD, not at all. I am one of the many who prefer the CMOS 240 sensor over the M9 sensor for color, for DR for higher ISO and for, well, everything. I prefer the IQ from the M 240 without question and I have spent three years with the M8, three with the M9 and 2+ with the 240, but we all have different tastes.

To those hardcore CCD lovers who prefer the difference of the CCD, check out Peter’s petition and if you want Leica to go back to CCD or create a new M with CCD in addition to a CMOS version, then go sign his petition! I have not signed it and will not but hey, I am just me and if more want CCD than not, who am I to stop the movement!

You can read what HE has to say and sign for his cause HERE. :) 

Jan 292015
 

How to use a Leica M Camera

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Check out this video from the wonderful Craig Semetko on using a Leica M Rangefinder Camera. He makes some great points and shares WHY it is a special thing, shooting with a rangefinder camera. I love my Sony A7II and S but the M is a totally different way of shooting. The video is less than 4 minutes and is well worth the watch, especially if you are not so sure how an RF works.

Craig Semetko: How to use a Leica M Camera from Leica Camera on Vimeo.

Jan 122015
 

The Panasonic LX7. A $349 Backup to my Leica M

by John Kurniawan

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Hi Steve and Brandon…Wish you both a Great 2015!

Bought a Panasonic LX7 as a back up to my M system.

I choose LX7 as a camera for my daughter as well a back up cam when I am traveling. Why LX7 ? Just love its size and features which suit my need like macro, zoom and manual mode. The manual mode comes handy when in low light condition so I can mimic the RF experience.

Almost a year with LX7, both my girl and me are happy with it, here are some the photo produce by this funtastic cam. Ones can produce good photo no matter what the camera is, most important is how ones capture lights correctly.

Thank you and hope to see more good post by talented photographer at your site

Best Rgds

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© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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