Apr 142015
 

Black & White with Leica M6, M9 and MM

By Dan Bar

Hi Steve & Brandon! About 8 years ago a friend of mine , a well-known photographer in Israel told me he wanted to buy the new digital Leica M8. I thought very highly of him and decided to go and see the new wonder. Yes it was a Leica, looked like one and was VERY expensive.

I have always dreamed of one but never wanted to spend so much , so I offered the salesman my Canon 5D + some lenses and to my great amazement he agreed to switch. I had to add some money of course as I also wanted 2 lenses with it. Since then I sold the M8, bought the M9, than sold it for the MM .

I also had the M6 for some time but the trouble dealing with film and development made me sell it too.

The purchase of the M8 , MM and M6 incited my love for black and white again. With my Canon 5D I only shot color. There is something about Leica that draws the user to b&w and I don’t know why. This odd attraction made me buy the Leica MM which I think is a fantastic b&w camera, as close to film as can be ( at least in my opinion. ) I know Steve prefers the 240 and so does Mr. Thorsten Overgaard, ( he told me so). I love the 240 but i mainly use it for color photos but here are some of my B&W photos which I like and hope you will like too.

Thank you
Danny

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It is not easy to decide which photos to send, I am not saying I dont like color photos and yet BLACK & White has its uniqueness. I love your site and look at it on a daily basis.

Thanks
Danny

Mar 022015
 

Travel Photography with Medium Format Color Film

By: Logan Norton

www.seeingthelightworkshops.com

As someone who has done quite a bit of photography oriented travel, I have experimented with many different gear configurations in search of the most suitable solution for my travel needs. I have found that using medium format (120/220) color negative film (c-41) offers me the most versatility while ensuring that I can achieve the “look” that I desire. I know that many of you will probably have serious doubts about the practicality/convenience/wisdom of this choice, but I can assure you that I have tried just about every other format and, for me, this is the one that fits the best.

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Knowing that the digital vs. film debate will inevitably arise from this post is, I would like to address that a little before we get any further. This is not meant to be an endorsement of film over digital. I don’t believe there is a universal truth that one format is better than the other. They are both tools with advantages and disadvantages and the beautiful thing is that they both exist. You have a choice as to how you will achieve the goals you seek through the use of one or the other, or both. I have taken a Nikon D800 and a Think Tank bag full of lenses on a two week Costa Rica trip. I’ve spent a week shooting in Austin, TX with a Fuji X100s and I took a Leica M9 and a 1950’s 50mm summicron on a roadtrip up the west coast for two weeks. Recently I spent a couple weekends in San Francisco with nothing but a Leica MM Monochrom and a 35mm cron and these days, the majority of my shooting is done with a Leica M2 loaded with Kodak 400tx and an older 35mm summicron – a setup that I love for its simplicity.

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The point I am trying to make here is that I have enjoyed an assortment of equipment configurations, both film and digital, and I have been able to create wonderful images with each, despite that fact that all of them have unique challenges. Anytime you seek to find the most appropriate tool for a specific job you have to weigh the negatives against the positives for each option. I spent quite a bit of time doing just that before a recent trip to San Miguel de Allende, Mexico. I wanted to simplify my travel setup; I didn’t want to carry multiple cameras with different film format, battery or memory card needs. I wanted something that would not distract me from enjoying the process of traveling and photographing.

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The first question was film vs digital. I realized that I didn’t want to be tempted to spend my evenings poring over the thousands of images I had downloaded into my computer, or to spend my lunches thumbing through pictures on my camera screen. It was important to me that I enjoy the experience of traveling while also taking pictures, rather than being preoccupied with the pictures I was taking on my travels. I also knew that I didn’t want to be reliant on batteries as I often spend long days shooting without any opportunity for charging. Another consideration was that a huge amount of travel photography occurs during the brightest part of the day in very changeable light conditions. Film is able to handle these changes more consistently and pleasingly than any digital format I have experimented with. The latitude that film allows, along with its ability to smoothly control transitions between shadows, mid-tones and highlights makes it a more effective tool for mid-day shooting, in my opinion. I also considered the difference in the way I work with film as opposed to digital. With digital I have a tendency to shoot everything knowing that I have virtually unlimited capacity for recording.

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When I’m using film, however, I find my process slows substantially. I search each setting/situation for the right moment, knowing that my shots are limited. I find that film forces me to really get into each moment and to stay there longer, something that I find incredibly important when I travel. In the end, these considerations led me to choose film as the medium for my travel photography needs.

Next I had to settle on the format. 35mm would allow for smaller, lighter gear and many more shots per roll. Medium format would give me incredible dynamic range, detail and latitude while forcing me to be extremely critical while shooting. In the end, the technical advantages of the medium format option won out over the convenience of 35mm. I knew it was going to be medium format film, and because I was going to the amazingly colorful town of San Miguel I knew I wanted color film. I chose to bring Kodak Portra 400 as my only film stock as it affords exceptionally smooth renderings at low iso while also providing excellent push-ability, fantastic highlight retention (imperative for the bright Mexican sun), and great colors. It also translates very well to black and white Continuing my theme of keeping things simple, I chose a Fuji GW670ii rangefinder camera for the trip. These “texas leicas” are all mechanical so there was no battery life to worry about. Since rangefinder cameras are mirrorless, they are nearly silent in operation and they allow the user to utilize slower shutter speeds with less vibration than slr cameras. These cameras all feature a fixed 90mm Fujinon lens that is incredibly sharp with fantastic bokeh characteristics and color rendition.

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Armed with my newly simplified kit I headed off to San Miguel de Allende for 12 days of exploration and shooting. I would be lying if I said I didn’t immediately question my decision upon leaving the rest of my gear behind, but after the first day I was convinced I had made the right choice. The Portra performed as well as I’d hoped in capturing the beautiful colonial architecture and brightly colored haciendas of San Miguel. When shooting in the mid-day sun I was able to rate it at 100 iso without any need to pull the processing when I got home (which was critical while using the Fuji which has a top shutter speed of 1/500) and it produced amazing results pushed as high as 6400 iso at I spent countless hours walking San Miguel’s beautiful cobblestone streets, sampling the local cuisine, meeting locals, and capturing amazing images. I found it to be one of the most welcoming and warm environments for travel that I have ever experienced. My days were spent exploring the magnificent el Charco del Ingenio Botanical Gardens; the el Tianguis Tuesday Market, a huge bazaar that features a little bit of everything; and the central square known as El Jardin that sits right next to the beautiful Parroquia de San Miguel Arcangel cathedral, the main architectural landmark of the city. During my trip I was privileged to witness two daylong celebrations in and around this immaculately maintained square, as well as a traditional Mexican wedding at the church. These events provided further insight into Mexican culture and afforded me some amazing photographic opportunities.

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Spread around the city are a number of other spectacular cathedrals, as well as a number of other squares where people gather. I could not help but fall in love with the uniqueness and beauty of the city and its people; and I returned home with 53 rolls of film filled with amazing memories from my time there. I cannot wait for Ultimately I was incredibly happy with my decision to simplify my travel photography setup. I believe that the careful process of selecting the right tools afforded me the ability to be in the moment more during this trip than any other before it.

Feb 162015
 

Back from Japan

By Dan Bar

Hello Brandon & Steve

Just got back from Japan with my Leica MM and Leica 240 M-P!  What can i say , Japan is simply beautiful , lovely polite people willing to help, extremely clean. I fell in love with this fantastic country. Only problem is the 15 hours flight from Israel, It is too much.

All the photos were taken with the Leica MM + Lux 50 ASPH.

On my way to Tokyo I stopped at Wetzlar Germany , they checked my MM and said there was a problem with my sensor, instead of fixing it they simply replaced the old MM with a new one.

Good for you Leica!

Danny

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Feb 102015
 

Second go with the Leica M Monochrom

By Chris H

Not long ago, I published my first blog post via stevehuffphoto.com (Many thanks to Steve for sharing my write up) about my first serious experience with the Leica M Monochrom + Vintage LTM lenses in Paris.

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The Leica M Monochrom has definitely sparked my passion for black and white photography.  I love shooting in black and white but was never as motivated until owning the Leica M Monochrom.  One of the main reasons is because the Leica M Monochrom leaves me no alternatives but to shoot in black and white.  There were times that I struggled to generate great black and white frames but the more I struggled, the harder I pushed myself.  I love keeping myself at the limit because that’s where you unleash your full potential.  Some people might ask why did I not keep a color camera in hand but that is because I like to be completely focused on the one thing I wish to master.  From time to time I seek challenges, keeping myself out of the comfort zone is a method to achieve improvement.

Tokyo, Japan is one of my favourite capitals as it has some of the most astonishing architecture, countless vintage camera stores and of course Japanese food allowing me to enjoy more than 3 meals per day.  Being a frequent traveller, I am always impressed by what I see but to also be able to capture it exactly as how I felt at that moment is not easy.  Often one perfect frame which I already have in mind will take quite long to reproduce through my camera and lens.  This time I have decided to explore a very unfamiliar focal length – 21mm   Knowing that it might not be easy to use since the Leica M 21 F/1.4 ASPH is not a shift lens (I love lenses with shift movement for shooting architecture / landscape) plus the widest focal length I experienced is 28mm.  Being a first timer with the 21mm I had this fear which I might not able to cope with such wide perspective in such a short matter of time.  Finder choice, I picked the Universal Wide-angle Viewfinder.  Yes, not many people like it due to the look, plus it adds weight and size to the M but for me I value its practicality..  It is bright, like a TV screen and features that beloved leveler.  The leveler is a star because I dislike correcting perspective in post-production; dragging or cropping pixels are never a good thing.  For a filter option, I went for a normal UV MRC by B+W which I did not prefer too much and would have loved to have a yellow filter (rarely in stock in Hong Kong) for boosting the shadow detail a little.

First location – Tokyo International Forum

This is a masterpiece location which I visited as part of an architectural tour almost 10 years ago.  There are only bits and pieces in my memory which I can recall unfortunately.  Being able to return and appreciate this beauty after so long has made me very emotional.  The camera was kept in the bag for the first 45 minutes or so after arriving on site. I just wanted to focus on enjoying the atmosphere and every bit of detail like the materials, shape and structure which formed this amazing art piece.  As time went on, the sun found its way out of the clouds.  I have noticed some amazing shadows being cast on the ground through the curtain wall and roof structures.  Walking up and down, standing and kneeling.  People at the Tokyo International Forum must have thought I am a strange person but I could not care less because I knew that there was not much time left for me to enjoy this ultimate wonderland and to make the most of it, I had to focus.  As a first timer to the 21mm the final images are very encouraging; I am pretty much in love with this focal length.

Understand one thing, shooting a non Tilt-shift ultra wide forces you to work harder on composition.  The Leica M 21 F1.4 Summilux Asph is extremely sharp even at wide open (if you own a good copy); to me, stopping down is for extra depth of view plus getting rid of the slight vignette.  There is a bit of pincushion distortion at the edges but is totally acceptable as such fast aperture ultra wide is not easy to design.  Running the lens profile option through Lightroom 4 can correct the distortion instantly.

Second Location – Tokyo Sky Deck

An awesome location that allows you to capture Tokyo’s skyline and sunset without having massive glass windows in front killing the image quality!  Even though you are not that into photography, it is a great location to spend an afternoon with your loved ones.  As the sun goes down, seeing Tokyo lighting up slowly, the atmosphere is just incredible.  If you want a good spot, please be sure you arrive early because there were plenty of photographers that were already there in the early afternoon.

Pre-Owned Leica items

Thanks to the super guide by Tokyo camera style, I was able to check out a few vintage camera stores around Tokyo.  Price wise was not very attractive but you can always find mint to like new condition items in Japan. Therefore if you are looking for collector grade items, Japan is the place to go!

http://kenshukan.net/john/archives/2013/12/26/tokyo-photo-travel-guide-part-2-shinjuku-camera-shop-walk/

I could never get enough of Tokyo.  Revisiting is the only option!

I hope you all enjoy the images. Please be sure to leave any comments and feedback by either emailing me or leaving me a message on my Facebook page! Thank you!

Instagram: FotografiePorter

Facebook page: https://www.facebook.com/FotografiePorter

Website:  www.FotografiePorter.com

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Dec 112014
 

Japan with Leica M-P 240

By Dan Bar

Hello Steve,

Here i am again hoping sending some more photos from Japan with my Leica M 240 hoping you will like them Japan is a colorful country especially in October and November when all the leaves turn red which is the most wonderful scene to watch. Japan is a great country for photographers as Japanese people seemly love to take photos and be photographed , which is a blessing for street photographers.

I took my Leica MM as well but the beauty of this country simply forces you to shoot color

As for the M 240, I really fell in love with the camera. I  know i was skeptical about it after shooting for so many years with the M9 ( had to sell it in order to buy the M-P 240). but the ease ,the great shutter sound , and the fantastic results with Leica lenses ( 50 LUX, 35 LUX ) made me completely change my mind.

Thank you,

Danny

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Oct 272014
 

2014: What was the biggest and best camera release this year TO YOU?

Unless someone drops a bomb on us at Photo Plus this weekend, 2014 has been the least exciting year in camera releases in the past 5 years IMO. For my tastes, there has been ONE camera, maybe TWO that were announced and released SO FAR this year that were truly ground breaking and exciting. For cameras, Photokina was a bit of a bummer for my tastes IMO. Sure, there were some cool cameras announced like the Panasonic LX100 and there are cameras coming in November that will be fantastic but nothing really “exciting”. Years past have brought us the Sony A7, Leica M 240, Leica Monochrome, Sony RX1 and RX1r, Sony RX100 series, and the Fuji X100 series. This year we have the latest Fuji X100T, which is an improvement yet again on the X100 series, and will be one of the good ones IMO. Nothing groundbreaking, but fun. The Leica T was released this year and took off big but then stalled a bit and I feel it is due to the lenses being overpriced for the T system. The X was another update that was welcome but with the close focus aperture issue, not one that excited me.

For me, there was ONE camera released this year that ticked al of my boxes, that struck a nerve and is the one I am still using every day since it arrived to me.

The Sony A7s. 

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Yep, a mirrorless full frame with a measly 12MP is my current favorite camera and for many good reasons. It’s a nice size, it works great with Leica M mount wide angles, even the Voigtlander 15mm, it has the best low light and high ISO performance I have ever seen and the AF is amazing, even in darkness. Using Leica M mount lenses with manual focus is a breeze and gives us that same Leica signature that is due to the lenses. No need for a Leica M unless you really want the beauty, build and experience of a Rangefinder. The Sony A7s is a wonder camera and an artists camera. Fantastic with the best color and AWB of the A7 series, superb with B&W images and small enough to take anywhere.

Almost any lens is adaptable on it as well via adapters. Many companies are now making Sony E mount lenses as well.

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Sony did it right with the A7s and I am so glad they went with 12MP as my max MP count that I can get into is about 20 give or take a few million. But 12mp is fantastic. Keeps the file sizes low. Keeps the editing quick and it has enough resolution to print huge if you so desire. I have seen 40″ prints from the A7s that were GORGEOUS and shot at high ISO’s over 10,000 in low light conditions. Amazing things can be done with the A7s that can not be done with 99% of other cameras. You can buy one HERE. 

I love my Olympus E-M1. I love my Leica M and MM. But the star of my collection is actually that A7s. 

The cameras that interest me this year are the Panasonic LX100 and the Fuji X100T. That is about it. I know Sony has something big up their sleeve but not sure when they will announce it, if at all.

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I also tested and tried out the Lytro Illum recently and was not a fan. It took me back to the days when I reviewed the original, which I actually prefer due to the size and fun factor. Putting that tech in a large cumbersome body is not so fun, especially when the results are lackluster and you need dedicated software just to view the images. LIMITED DR, NOT USABLE INDOORS, BEST WITH CLOSE UPS, LOW RESOLUTION, BIG BULLKY BODY. Ugg.

I feel the future of camera design lies with Sony, Fuji and yes, even Leica. Olympus and Panasonic is up there as well but the others seem to be lacking when it comes to releasing something that gets the masses excited. I remember when Fuji released the X100 (the 1st version) and the excitement was THROUGH THE ROOF! These days, excitement seems to be lackluster from what I am seeing online and in social networking. Sure, there is some excitement but nothing that makes us say WOWOWOWWOWOW! For me the DSLR’s that have been released have been more of the same old same old.

So, is there a camera that was released this year that excited you? If so, leave a comment and let me know which one it is! From what I see most are excited about the $899 LX100 and the Leica red dot version, the D-LUX Typ 109 at $1195.

 

Sep 232014
 

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Jupiter 8: A cheap and lovely character lens for your Leica M or Sony A7 camera

The best $30 I have ever spent? This old, beat up, tiny 50mm f/2 Jupiter 8 Russian lens. Yes, I bought this lens on the cheap locally here in Phx AZ along with a Jupiter 9, which is an 85mm f/2 for $70 or so (though the 9 is a tad off with focusing on my M). I never owned a Jupiter though they have been around forever and what has kept me away from them is the fact that many say they are not very good lenses, will not focus correctly or are just plain cheap in construction. Well, taking all of that in to consideration I decided that $30 would be a no brainer way to test out the Jupiter 8 and I am glad I did as this is truly a “no guilt and no buyers remorse” lens. For $30, it could easily be resold if I did not like it, but again, at this kind of money, this lens will always be in my kit for when I want the character of this lens. I am a huge fan of classic Rangefinder lenses and many of them are better to me than modern-day pricey lenses.

Shot wide open at f/2 on the Sony A7s with the only purpose being to show the Bokeh. This was shot up at some trees and defocused

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I have always seen these lenses for sale on E-Bay for pretty cheap prices but samples online that show the softness, low contrast and strange rendering put me off on the Jupiter 8. While I am looking around for a decent Jupiter 3 now, the 8 has actually surprised me with just how sharp it can be, even at f/2. In addition, it has that classic Zeiss Sonnar rendering that I recognize. I will say though that an article on this very website is what really had me really wanting to give these lenses a shot. You can see that article HERE.

At f/2 focusing correctly on the Leica Monochrom. Yes, this lens focuses great on my MM. Click the image to see just how sharp it is, you may be amazed that a cheap lens such as this one can do this!

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…and it works just as well on the A7s, even for B&W :)

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Dreamy, Creamy and Classic

Basically what this lens will deliver is nothing like what a Leica Summicron or Summilux will bring you. I have talked any times about lenses being like the artist’s brush. Choosing a specific lens will help you create the vision you are looking for whether that is in the form of a Leica Noctilux, Canon Dream Lens, or a Zeiss 50 Planar. This Jupiter 8 reminds me most of the Zeiss 50 Sonnar but for 1/30th the price! While not as nice as the Zeiss in build, feel, or IQ, it has something unique about it that I can enjoy from time  to time. IN color on the Sony A7s it is gorgeous (for me) even though the Bokeh is a teeny bit nervous at times. Other times it is silky smooth.

These three test shots were taken to show the rendering and bokeh and color. All on the fantastic A7s. Click them for larger and better viewing experience! 

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Some people use this lens for portraits due to its softer look when wide open (when compared to critically sharp lenses like a 50 Summicron or APO or 90 APO) and I tested it and found it to be lovely. The lens does feel cheap in construction but it has lasted this long so I assume to will last me many more years to come. At this price, the Jupiter 8 is a bargain of massive proportions. A fun lens to have around and mess with when you want a classic creamy look.

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So for anyone who wants to try out a new lens but you do not want to put a dent in your wallet, give a Jupiter 8 lens a try. It may surprise you. Many say that when being used on a Leica M that the lens may need shims to get it to focus correctly. My copy did not need this but I guess some do. It is a small, light, oddball lens but it works nicely for some applications. I will be using it again and again, and for Sony A7 shooters, using this lens with the Voigtlander close focus M to E adapter, it is lovely and a breeze to focus.

Highly recommended!

Steve

PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

Hello to all! For the past 5 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple. 

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Sep 142014
 

Concentration Camps with the Leica Monochrom

by Dan Bar

Hello Steve and Brandon,

It has been some time since my last photos. Anyway I spent a week in Poland intending to visit the two concentration camps Auschwitz and Birkenau. I decided to take the Leica Monochrom + 35 Lux 1.4 only. I first started with Birkanau ( first 5 pics) which was not easy to watch and certainly not easy to photo , yet still bearable. The long line of concrete with the holes in it is actually a latrine where they were forced to do their needs in front of the others. I then went to Auschwitz where I had to stop soon after starting my visit, simply could not face the horror . So I decided to put on only some of the sights I saw there. I hope these deeds will never ever happen again anywhere on the planet.

Thank you

Danny

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Jul 132014
 

The best for me: Leica Monochrom!

by Francois Roosens

I think it’s the moment to send you some pictures from my Leica MM (Monochrom). Leica came into my life about 2 years ago, I sold my D4, D800e and all reflex kit to buy it.

The Leica MM is for me the best camera I have bought. I now own the MM(The best), M240,  A7r,  A7s (fabulous), and also the Lumix GM1 (it’s a perfect micro camera). I like your job.. Thanks for everything.

I am sending you some picture of « GILLES » from Belgium, it was in March for the « Carnaval » It was an important feast in my country. Early in the morning Gilles come pick  up other gilles and drink and eat at each house. in front of every house, they dance around… and lunch some oranges to give at children or at people for have a lucky year. I hope you like this.  The Leica 24 Summilux and 50 Noctilux 0.95 was used for that and I was up at 4AM.

Thank you!

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Mar 062014
 

Judo Shooting..with Strobes and a Leica

by Jochen Kohl

The shooting took place at a Judo Dojo and the main participant was local Ving Tsun Master and a former national league Judoka. The picture showing the kick was done with the Leica Vario.

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Lightning setup was a Multiblitz X10 with a 5 ft. Superbrolly Silver Umbrella and a Profilux Plus 400 with a standard reflector, both powered by a Propac on location and triggered via radio trigger on the MM’s hot shoe.

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For the Judo pictures I used the Leica Monochrom with the 35mm Summarit placed on a tripod.

Because for this kind you don’t need an autofocus or a high frame rate and the final pictures should be black ‚n white using the MM was a simple move.

It was a small location with white walls reflecting the flashes badly. Simple closes the aperture and used flags to set the light.

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So easy it can be.

Regards

Jochen Kohl

Mar 042014
 

LEICA M MONOCHROMATIC IMAGES

By Michael Nemlich

I gain so much from yours as well as others posts, so I would be honored to contribute some in revenge. These days I use the M (240) following M9, M8 and Digilux 3. Since I do a lot of B&W images, before I moved to the 240 I considered the attractive and tempting MM; but my left side brain resisted, for one and only (good) reason, as follows:

According the phrase: “a picture is worth a thousand words”’ let’s talk (4) pictures:

The image “A” is of a scene in Manasseh-Heights. The image is chromatic, as a standard human eye sees it.

If this scene would have been taken with the MM it would be seen as image “B” with very close tones of both fields. No much can be done to distinguish between them.

Nevertheless, converting the original (color “A”) image to monochrome IN PP has the inherent option to influence the grey tones via the color channels; so lightening the oranges and darken the greens yields the image “C” and vice-versa results the image “D”. For me this was the one and only – but crucial – reason to stay with a ‘color’ sensor for B&W photography. Some short experience with the MM encouraged this theorem.

I hope this short essay helps.

All the Best. Nemlich

nemlich.leicaimages.com and www.beshumma.com

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Jul 052013
 

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Marriage with the Leica Monochrom by Leonardo Perugini

Dear Steve,

My name is Leonardo Perugini and I am a professional photographer. I work with my colleague in a photo studio in the outskirts of Florence, www.spbstudio.it .

I often read your website, that is full of many interesting information and at the same is very funny and enjoyable. Recently I replaced my beloved old Leica M9 with a Leica MM and I started using it for working purposes together with my reflex.

The first time that I tested it, I was at a wedding and it was really amazing: I felt like a child, it was even more fun than usual!

Then, when I went back to my studio, I took a good look at the files and I verified that their quality is amazing, also because you can use great lens with that camera.

I send you some pictures attached: they are all taken with Canon 50 0,95 and Zeiss 35 f/2.

I hope this might be helpful to anyone interested in working with more than one camera.

I really think that for wedding reportage and fashion shoots, Leica MM can add something to the way one takes pictures.

Best regards!

Leonardo Perugini

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Jun 212013
 

S+M: Dream combo!

By Jan Brunaes

What a journey it has been! My first memory of being in awe of a camera was at the launch of the legendary Canon AE-1 some 30-odd years ago. All I remember was it had a computer inside and it looked awesome. Fast forward to more recent times and I still find myself being impressed with the developments in this industry.

The line-up of past cameras in my bag indicate a total lack of brand-loyalty; Minolta, Porst (!), Nikon, Canon, Fuji, Sony, Panasonic – all a part of searching for The One.

Leica M7 was my first revelation of what was possible to achieve of optical brilliance. I bought a chrome body and a 35mm Summilux without ever having tried a rangefinder. Needless to say I spent several rolls of film and a lot of time failing before starting to get the hang of it. I had a Canon 20D at the same time which was my go-to camera in case I had mission-critical assignments like my kids’ birthday parties. It was great, gave predictable results and it was somewhat….boring. The M7 was different. Stripped of all the automation in the 20D you knew it exposed your skills, there was nowhere to hide. But when you got it right it you just felt good, really good. My first few shots with the M7 in Coogee, Australia, gave me the first inkling of what the Leica glass can bring in terms of bokeh.

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I spent several years with the M7 (and the 20D) before the M8 made it’s entrance. It was not a full-frame, but it had the lure of being digital. Never mind you had to use special filters to adjust for the sensor shortcomings (black became purple), it was 10MP and a totally new way of shooting – fire away, baby, no costs of film! No doubt the M8 had it’s issues and so did it’s successor M8.2. It wasn’t until the M9 was released with it’s full-frame that you got the sense the M now was a mature platform.

One thing remained constant; the lenses. It did little matter what body you had, the glass you put on it would always make sure you got the most out of it. I have used my 35 Summilux for almost a decade, and it is still my preferred if-I-can-take-only-one lens. It got a much deserved adjustment in Germany last year and performs brilliantly. For a long time it seemed like I didn’t need another lens, the 35mm was sufficient in most situations. Then along came the new Noctilux. Beyond reason expensive, but with the lure of magical bokeh and in-the-dark performance. I have to say it is the most difficult and temperamental lenses I have ever owned. Brilliance followed by disappointment, though mostly down to the photographer… This is a lens you want to shoot wide open, all the time and in all situations – with very varying results. I took this shoot of my dog after having unpacked the Nocti and M9.

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So fresh out of the box that the settings was still at default and gave me a JPG instead of a raw-file. I liked the creamy colors and was quite pleased I nailed the focus on the dog’s snout at wide open. I have since added a 21 Elmar and a 90 Summicron to the arsenal. The Noctilux got little usage and was sold off a couple of months ago to fund another lens, and now I miss it…

When news of the new Leica M started circulating I took notice. That’s not remarkable in it’s own right, I easily get excited about new gear. But the prospect of a new sensor and Liveview sounded really good. I could actually get the hitrate on my Nocti shots up by focus peaking. So in anticipation of the new M I sold my M9 while second-hand prices were still alright. Then I waited. And waited. I wanted to bring it with me on a trip to Paris, but there were just no availability. I decided to pick up camera to keep me going until I could get the new M, and a trip to Tokyo resulted in a Fuji X-E1 with the 18-55 kit lens. Cheap, flexible and a ton of fun! Focusing was slow, yes, but it was such a great little camera to put in the bag when traveling. I got my first post here with shots from this trip.

The black and white format just seemed to work so well. Which of course led me to the Monochrom. It seemed like a crazy concept; only black and white and really expensive. Whatever it’s shortcomings, price, quirks – this is by far my favourite camera. It will perform brilliantly under any circumstance I normally shoot, and it’s low-light performance is unique. Just to put it out there; even it’s noise is beautiful, like it’s algorithm was done by a pointillist painter. Here are a few more Monochrom shots taken with little available light(there is a little Silver FX processing applied). The IQ impresses me, even more so when you consider the compact size and being handheld.

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So no more color? The qualities of the Monochrom had me wanting more out of a color M as the dynamic range and quality is best described as addictive. Maybe the M240 was it, but going by early reports this was not necessarily so. I had read about the S range, but never thought of it as an option. Too costly, too big and no low-light capability to speak of. I got an invite to test a new S-lens here in Singapore and handled the S for the first time. Five frames later I was hooked. Here you had Leica IQ, autofocus and oceans of pixels to play with. The ergonomics were so natural to a M shooter and it handled just like another SLR. Simple and logical layout, and top-notch build. Two things weighed against it; price and bulk. This was not a camera to put in your Billingham M bag.

I got a 120mm macro as my first S lens and have used it now for a few months. A clinically sharp lens that is well suited for studio and portrait work. It is a heavy unit to handle handheld and it needs a lot of light unless you put it on a tripod. The only negative I have is the autofocus which quite often hunts through a full cycle. I would be good to have the option to disable macro and have a shorter cycle time in autofocus, hopefully it can be done in a firmware update. Meanwhile a common solution is to assign autofocus to the joystick button at the back, this works quite well.

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Studio-8-LEICA S (Typ 006)-Hasselblad HCD 4-5,6-35-90

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That’s it. I think I have found my dream combo here. I will always carry the Monochrom with a 35mm, and for color shots I will pack the S. I can’t see a need for the M240 any longer (although that might change at any point of time when I actually get to try one…). What’s next then? Shooting, lots of it. Both the Monochrom and the S require a different approach than my M9, and learning these new skills are what makes it fun. That and nailing focus on wide-open Leica glass ;)

Happy shooting!

Jan.

More photos on my blog: www.sortvitt.com

 

 

May 172013
 

Friday Film: The Leica M Monochrom vs Leica M6 on a wedding

By Joeri van der Kloet – see his website HERE

Let me start with explaining what I do for a living. I am a documentary wedding photographer, based in the Netherlands and a little more than two years ago I switched from a DSLR to the M-system. I work with one M9 and one M9-P and a couple of lenses. Being a documentary photographer, my approach to wedding photography is to capture real moments, without interfering in these moments. For me, and for my clients, this approach really works. The Leica M fits perfectly in this approach, after lots of practice though. During a wedding, things are happening fast, so focussing and exposure have to be adjusted continuously. Manually of course. I have trained myself to focus my lenses within an instant of a second.

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A few months ago I was asked by Transcontinenta, the company responsible for Leica in the Netherlands, whether I would be interested in testing the Leica M Monochrom on a wedding. Sure, I was interested! However, I didn’t feel like ‘testing’ a new camera on one of my clients, so I asked my friend Vivian, who is a wedding planner, if she had clients that would be interested in having a second shooter on their wedding. She came up with two couples and because I was available for those dates, I decided to shoot both weddings. The same day my contact at Leica called me and told me he had made a mistake. The Monochrom would only be available on the second date. Vivian however had already promised her clients that I would be there as a second shooter. I told her I’d come anyway, bringing another black and white camera: my trusty old Leica M6. The couple was excited and I was scared to death. Why on earth did I just say that?

I started in photography with manual film cameras: the Minolta XD-7 and XD-5. However, I had never covered a wedding with these things. When I started doing weddings, I had already switched to (D)SLRs. I don’t use my M6 that often. For professional work, it is not very usable. For fun photography, I also take the M9.

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So I decided to keep it very simple. I packed ten rolls of Kodak T-Max 400, my M6, a 35 and 50, a three-stop ND-filter, my Gossen external meter and drove all the way to the venue. During the day I shot seven rolls of film and only used the external meter occasionally. I trusted my internal exposure computer – my brains – and even left out the battery of the M6. I had to shoot at long shutterspeeds – 1/8th – and at very fast shutterspeeds, but it didn’t bother me at all that I was stuck to 400 ISO. Since I’m not exactly a machine gun shooter with the M9, the need to take ten pictures of the same moment is non-existent. Compared to a normal M9-wedding, I had to wait and anticipate more with the limited amount of frames that I had. On the other hand, it was quite fun and I enjoyed being able to work with the M6. Also, I loved the inconspicuousness of the M6, which I prefer to the M9 because of the shutter that is way more silent. Because the depression of the M6-shutter is quite big, I used a soft-release, to prevent camera shake.

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After the wedding, I mailed the films to a specialized company of which I was quite sure they’d do a good job. A little nervous, I opened the package a week later. Within one minute I knew that my internal exposure computer was still working great! All frames were perfectly exposed! Not a single one was ruined. A week later, when I had some time on my hands, I started camera scanning the frames. I needed a fast and cheap method, since the job was completely unpaid. Using my 5D2, a speedlite and a 90mm macro, I worked my way through the frames. It still took me more than a day to scan them all and I hadn’t even started selecting and editing yet. From the first frame on I decided to go hardcore: I would scan the edges of the frames and not crop the final image. It meant I had to throw away quite a few pictures that otherwise would have been good. Framing can be a little hard in the heat of the moment. Also, tilted shots, that otherwise would have been cropped, became unusable. Was I being too hard on myself?

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The more time I worked on the frames and files, the happier I became. Although the files are far from clean – TMax is pretty far from clean either – they have a unique feel and character. Maybe I fell in love with these pics, because I put so much effort and time in them, but to me they are pure and authentic. It is just one camera, two lenses, a few rolls of film and loads of work. Of course, I would have preferred to make some very nice fine-art prints in the darkroom, but I don’t have one and my dark-room skills are rusty.

The Monochrom

A few weeks later I picked up the M Monochrom and I couldn’t wait to see the results of this much praised camera. Having countless hours of experience with the M9, the Monochrom wasn’t hard to get used to at all. Even the post-processing wasn’t that hard. I only used Lightroom and was satisfied with the results. Compared to the scanned files from the M6, the Monochrom files are easier to work with, since they are so much more flexible. The toning is amazing, as is the crisp sharpness and the ability to use high ISO. After getting used to the camera I shot a wedding as a second shooter. While driving to the venue I thought it might be a good idea to make a comparison between the two cameras. Lots of things have been said about the Monochrom and one of the things is people saying: “I already have a Monochrome. It’s called Tri-X and my M2/3/4/5/6/7”.

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During the wedding, I found it hard to resist picking my M9 from my bag just to take some shots in colour, but I figured that would blur the experience. The wedding was one big party with many, many kids, lots of colours everywhere and there I was with a black and white camera.

I can’t say it felt different from shooting with the M9. The shutter is the same, as is the sound. The only noticeable difference is the high ISO capacity and that was useful. I even left my 35/1.2 at home for that reason. The biggest difference is during post-processing. There you’ll notice that sometimes black and white just doesn’t work, or sometimes just rocks! Also the files are more flexible than the M9 files and that is a good thing.

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Would I take the Monochrom or the M6 to one of my own weddings? No, unless I was asked to do so. In my work I use roughly 60% color and 40% black and white and that works. However, I like to be able to decide afterwards which picture will be converted to black and white and which picture will be in color. This is obviously not possible with the MM. With the M6 I would only use it with a couple of extra film bodies. One for high ISO film, one for color, etc. I would also have to invest in a high quality scanner and even then I would have to spend more time on each wedding, meaning my price would increase. Even though I would like that idea to work, I don’t think I can sell it. So if I, as a professional, had to choose between the two cameras, I’d go for the Monochrom. However, besides being a professional, I still have a passion for pure, raw documentary photography. And for me, the M6 just adds to the sensation of documenting reality. Despite the technical limitations of these pictures, I think I prefer them to the far better M Monochrom output. Maybe I even prefer them BECAUSE of the technical inferiority. I don’t know.

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I would have loved to keep the MM for a couple of weeks, but I had to return it. The M6 however will stay with me. Although I only shoot a few rolls each year, the amount of sheer happiness it delivers makes it impossible to part with it.

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May 132013
 

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The Voigtlander 21 1.8 Lens Review by Steve Huff

Thanks to new site sponsor CameraQuest for loaning me this lens and viewfinder for review.

Hello to all who lurk here on stevehuffphoto.com! It is once again “review day ” and what I have to talk to you about today is a real GEM of a lens for any and all Leica M shooters, the Voigtlander 21 1.8 M lens. I have already posted many of my thoughts on this lens in my 1st look of it HERE, so if you missed that go take a look if you like.  Wether you shoot an old or new film rangefinder or use one of the digital versions like the M8, M9, M9-P, M-E, MM or M this lens delivers. While I have not shot it on the new M yet, it does well on the M9/ME and is gorgeous on the MM as well. In fact, it does so well I would PERSONALLY take this lens over the Leica equivalent (The Leica 21 Lux) any day of the week, not because it is superior but because it is almost its equal and I would save myself $6000 in cold hard cash, yes…$6000 separates these lenses and the Voigtlander is really good. I’d rather take the 5-10% less build and performance and pocket over $6k to take an amazing vacation/photo trip to really use the lens. If I were a rich man, I’d take the Leica but when it comes to saving money you can do so with this lens and trust me, your photos will not take the quality hit. Hmmm. Did I just finish the whole review? Well, not really, read on…

While not small in size, it is smaller than the Leica 21 Summilux 1.4 and about 90% of the performance..and then some.

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These days, Voigtlander is really rocking it with some of their newest glass and this 21 1.8 is no exception. Compared to the Leica 21 Lux, it has less distortion, is only a teeny bit slower at 1.8 vs 1.4 and is also lighter and smaller. It is just as sharp if not sharper and gives no magenta edges on the M9/M-E, even without coding the lens. It also focuses close at .5 meters though you will lose the RF focusing at .7. I was able to shoot a few at .5 meters by guessing and it works quite well.  Compared to what I remember from the Leica 21 1.4, this Voigtlander has a little bit less micro-contrast and is also a little less contrasty in general and the Leica will win in overall heft and build, but that is about where it ends. When it comes to quality, the Voigtlander and the Leica has it, but this one will cost you MUCH less.

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At $1249 for a fast quality wide angle lens, it is a steal of a deal. Even this little rescue dog thought so :)

The Voigtlander 21 1.8 Lens on the Leica MM, at 1.8

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While this shot is nothing special, the Bokeh quality from this lens is smooth and silky. 

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Shooting WIDE. It can indeed be a challenge. 

I am not really a wide angle shooter, at all. My go to focal lengths have always been 28mm, 35mm and 50mm with rare use of the 28. So shooting a 21, for me, was a challenge when trying to create interesting review snaps. My goal for review images though is to create a mix of interesting shots while showing what the lens can do on a given camera. I look for nice colors if shooting color, I look for shots that will present interesting Bokeh opportunities and I look for detail shots to see what the lens can do with sharpness and detail. I also like to see what the lens can do with B&W photography using the Leica Monochrom, so what you see in this review will helpfully help you to understand what the lens can do on the Leica MM and M9/M-E.

Product shots with the Sony RX1

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Ever since selling off my Leica M 240 to be able to keep the MM (which I already miss… of course) I wondered what this lens would do on a color M. Any color M. I was able to get a hold of a Leica M-E for a few days and took it out with the 21mm. It performed much better than I expected in all areas. Sharpness, color, bokeh, etc. I kept thinking to myself “man, if Voigtlander did this well with a 21mm lens, I can not wait to get my hands on that sweet new 50 Nokton 1.5 that is set to hit in June. While shooting the Leica M-E I was reminded of the M9 color and signature, which is indeed different than what comes from the new M 240. After shooting the M-E again I can easily state that yes, I still and do prefer the new M 240. I hope to have one again within 9-12 months.

When I do get one again I will try out this 21 on it and add to this review.

The Voigtlander 21 at f/4 on the Leica M-E – AWB

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Nature Trail in full AZ sun, mid day. The 21 1.8 at f/4 

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While a challenge to those of us who are “wide angle challenged” the 21mm focal length can be very cool to use sometimes. While not an every day lens, in some situations it can help you capture “more” of the scene. I took the MM and 21 to a local immigration reform March here in Phx (that only had about 100 people show up) and shot some with the 21. It worked out well and using the external viewfinder was a MUST to frame the shots, and man what a nice VF it is. The version II VF from Voigtlander is all metal, hefty but small and just has overall amazing quality. I can HIGHLY recommend the Voigtlander 21mm VF for any 21mm lens you may use. It is large, bright and easy to frame with. One of those products that is a joy to use and at $209, it will not break the bank. If you are using the new Leica M and have the EVF, then you will not need the optical VF of course but this little guy is so clear, bright and well made…in addition to being sexy to look at. (more on the VF later on).

The next three shots ranged from f/2.8-f/4

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The viewfinder… it feels just as high quality (if not more so) than any Leica or Zeiss finder I have tried over the years. It is metal, solid, and feels like it will last a lifetime. Focusing using the rangefinder and then framing with the external is a pain in the ass but if you want to frame correctly, it is needed for this lens and any lens wider than 28mm.

Shooting the lens in B&W on the Monochrom was a pleasant experience as the lens just seemed to be quite amazing for B&W. Just the right amount of contrast and sharpness with pleasant Bokeh makes for a classic yet modern-ish rendering. Shooting at 1.8 also shows that this lens can suck in some light with the best of them. The self portrait shot below (3rd shot) was taken wide open in my kitchen which was actually a bit dim. The lens made it appear brighter than it really was. Great fast lenses do this but not all of them do. For example, the classic Nikkor 3.5cm 1.8 shot in dim lighting results in a duller and darker rendering. Lenses that do suck in the light? Noctilux, Summilux, Canon 85L, Nikon 85 1.4, etc. So this lens is in good company.

This is a crop of an image shot at f/1.8…

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…and this shot was at .5 meters with me guessing the focus by bringing the camera down to the dogs level and moving it in to what I felt was .5 meters…

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…and a self portrait at .5 meters wide open. The Leica 21 Lux focuses to .7 meters while this one gets a little closer :)

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Some smooth bokeh in color – an OOC JPEG at 1.8 on the M-E

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Crop crop till you drop

Using the Leica MM and the 21 1.8 I often found the lens to be too wide for my tastes but at the same time, when viewing that full 21mm frame I kept thinking that I could really grow to love this focal length. To show how wide it is check out the shot below that I snapped in a restaurant. I will first show the original, then a crop and then an almost 100% crop. Click them to see larger and better looking sizes. They look VERY nice on my iMac 27″ display.

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The Monochrom is a gorgeous camera that for me, easily replaces any film camera. It can indeed meet and exceed the quality of any B&W film. Outside of the window in the above scene was the full harsh Phoenix AZ sunshine. The camera and Voigtlander 21 1.8 captured it all, inside and out. This 21 1.8 has a little less contrast than the Leica 21 Summilux so when shooting on a camera such as the Monochrom, it will be easier to avoid blowing highlights as the lens will not render in a harsh way, unless of course you like that look. Then you can just process the photo to give you a higher contrast look like below where I purposely blew out the background to make the image pop more:

This lens has a very pleasing way of rendering on the Leica MM – I blew out the background on purpose to create more pop.

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How sharp is the Voigtlander 21 1.8?

This lens is sharp as any lens I have ever tested, has minimal distortion and during my 2 weeks of use I found no issues with the lens that would deter me from buying one. In fact, if I were more of a 21mm shooter this would indeed be in my kit. I may pick up the luttle brother to this lens, the 21 f/4 as it is much cheaper and smaller and for the amount I use 21mm, it could be just the trick. Then again, if I went that route I would lose the look of the 21 1.8 due to no longer having any shallow DOF capabilities. I love the way this lens renders and it reminds me a bit of classic mixed with modern and somehow they managed to get it all together in the perfect way.

But let’s get back  to sharpness. This lens is as sharp as you can ask for and on the MM and M-E, without any coding at all I did not have any color or vignetting issues, which is quite incredible for a wide angle lens such as this. The lens does vignette wide open at 1.8 a bit but nothing objectionable. Check out the image below which is a 100% full size file from the Leica M-E via RAW conversion. Click it to see the full size detail.

click the images below to see the 21 1.8 in full size on the Leica M-E

1st one at f/4 – focus is one the top of the metal rail, closest to me. Still some shallow DOF here at f/4. Corners are sharp, the ones in focus. The trees in the upper left are not in focus as that is not the focus point, so those are blurred due to shallow DOF.

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This image was shot at f/2.8

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So for me, this lens gives plenty of sharpness and detail, no question. No one would need more.

Below you can see the same shot at various apertures. This lens is sharp at 1.8 and stays that way as you stop down. You can see the slight Vignetting at 1.8 which is all gone by 2.8. Click each image for larger with 100% crop embedded.

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Sharp corner to corner…

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The Voigtlander Viewfinders

Looking through the excellent 21/25mm Viewfinder – All metal construction – $209 

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When shooting a lens wider than 28mm on a Leica M you will need an external viewfinder to frame your subject. You will still use the standard viewfinder/ramgefinder window of your camera to focus, but to frame it all up you will need the external viewfinder with 21mm framelines. This way you can see what you will get on your final image. External viewfinders can look really cool but in reality, for me, they are a pain in the rear. Having to use one VF to focus and another to frame kills any “decisive moment” shots unless you are zone focusing (which is easy to do with a 21mm) but I was able to try out a couple of cool Voigtlander viewfinders. One of them is the 21/25mm all metal designed version 2 viewfinder which is the latest and greatest Voigtlander 21/25mm finder. It is solid, small but has some heft due to its rock solid metal construction. THIS is the VF I would buy with the lens at just over $200.

Comes with a nice little velvety blue bag for storage :)

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There is also the Voigtlander monster of a VF, the 15-35 which will give you 15-35 frame lines. So if you have the excellent 15mm f/4.5 you can use this one for both lenses, all the way up to 35mm. It’s large and bulky but versatile. You can choose between 15, 18, 21, 25 or 35. Also excellent but for those with multiple wide angle lenses.

It’s large and in charge…for those who want one viewfinder that will take on all wide angle lenses. Still smaller than the Leica “Frankenfinder”

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What about the .5 meter close focus? How can you focus this close on an M9/MM/ME?

Here is a quick tip! It may not be the most practical thing to do but as most of you know a Leica M8, M9, MM, ME, etc can not focus closer than .7 meters, even if the lens you are using focuses as close as .5 meters. Old classic lenses usually had a 1 meter limitation. Newer lenses from Leica all focus to .7 meters (most of them) and some other lenses can focus as close as .5 meters, which is about 1.6 feet. Once you turn the lens past .7 meters to go to .5 you lose rangefinder focusing. You can just move in a little closer and guess but it can be hit or miss. If you want to focus close on a regular basis here is a way you can do so and all you need is a string (I used a cable for my example photo so you could see it clearly), a measuring tape and some scissors.

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Simple and effective. You could even tape a piece of light string to your camera body when shooting with a close focusing lens.

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The cons of the Voigtlander 21 1.8. What is wrong with it? My final thoughts. 

In the world of 21mm lenses, this is a jewel of a lens for more reason that the quality it gives us in our photos. The reason it is so special is that it has the look as well as the build and feel of an old classic while giving performance that is nearing the $7250 Leica 21 Summilux. When I tell myself that this lens is $6000 less than the Leica 21 Lux, it boggles my mind. The Leica is larger, heavier, uses more expensive filters, has more distortion and is much more expensive. The Voigtlander has a llittle bit less micro contrast, which Leica is very good at but other than that…well, what can I say?

The Voigtlander is still on the large side for a rangefinder lens and the Voigtlander also has less overall contrast than the Leica equivalent. But without any question of a doubt I would not hesitate one moment to buy this lens if I were a wide angle shooter and wanted a fast aperture wide. It offers incredible performance for the price and gives superb quality build to boot.

So there really is nothing wrong with this lens, and for the cost it is a home run it. There is also a Zeiss 21 2.8 lens but the Zeiss is slower at 2.8, not as hefty in the build and more expensive. When you look for a fast 21 mm lens for your M mount camera, be sure to NOT look past this Voigtlander. They are making some superb quality glass these days and buying an all Voigtlander setup could help save you a ton of cash and possibly your marriage :) This lens is HIGHLY recommended if you are in search of a fast 21mm.

If you have the mega-bucks, just go for the Leica and call it a day knowing  you have the ultimate but remember, you can get just about as good for much less :)

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Below: At f/8 this lens is insanely sharp and again, sharpness across the frame which is impressive for such a wide angle lens. 

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Where to buy this lens? 

This lens was sent to me for review by Stephen Gandy at CameraQuest.com. They are also a site sponsor and sell the 21 1.8 lens for $1249 with FREE fast shipping. You can go direct to their 21 1.8 page HERE.

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LENS SPECIFICATIONS:

Mount Type VM for M-mount Cameras

Focal Length 21mm

Aperture Range f/1.8-22

Angle of View 91º

Minimum Focus Distance 19.7″ (0.5 m)

Focus Range 27.6″ – infinity (0.5 m – infinity)

Lens Construction 13 Elements in 11 Groups

Number of Aperture Blades 10

Filter Size 58mm

Dimensions (Diam. x L) 2.7 x 3.6″ (69 x 92 mm) including lens hood

Weight 14.5 oz (412 g)

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PLEASE Remember, anytime you follow my links here and buy from B&H or AMAZON, this helps to keep my site going. If it was not for these links, there would be no way to fund this site (and the cost these days to keep it going is pretty damn high), so I thank you in advance if you visit these links. I thank you more if you make a purchase! I have nifty search bars at the upper right of each page so you easily search for something at either store! I currently spend 10-14 hours a day working on this site and the only way that I can pay for it is with your help, so thank you! Currently my traffic has been increasing but my funds to pay for the site has been decreasing, so any help would be GREATLY appreciated!

Even if  you buy baby food, napkins or toothpicks at Amazon it helps this site, and you do not pay anything extra by using the links here. Again, you pay nothing extra by using my links, it is just a way to help support this site, so again, I thank you in advance :) More info is here on how you can help even if you are NOT in the USA as I have Amazon links to GermanyUnited Kingdom and Canada as well!

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