Mar 302015
 

Leica M-P 240 Lenny Kravitz Edition “Correspondent” Special Edition – Let’s get dead serious here!

By Dirk Dom

When I saw that camera, I thought it was pretty cool. Until I discovered the price. This was the first camera that made me feel sick to my stomach.

I happen to own the most brassed Canon F-1 in existence:

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This is just so totally different from this Leica. It belonged to a pro sports photographer who shot 400,000 images of soccer through it, with a motor drive attached. I bought it for 200 Euro’s, and it didn’t even need a CLA! It just worked and light metering was spot on. He had changed lenses so often and so brutally fast that the bayonet connecting groove had worn a millimeter.

After a year or so I got the idea of sanding off the black paint from the viewfinder and polishing it:

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For a while I was tempted to give the entire camera this treatment, but then I would take all the character away.

I also have a completely mint F1:

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Not even the tiniest scratch. I decided to shoot it. After two years, shock!!! – I found a trace of brassing at the strap connection. I must say I felt real bad about it, but I got over it and continued using it, after all, that’s what a camera is for.

Now, this craziness of producing a pre brassed Leica for $ 24,500.

I’d sell my Canon for that price. But not for $ 10,000; my Canon is unique. It’s more a work of art than a utensil. No one has a camera that went through 400,000 shots and I have it. Maybe I’ll put another 50,000 shots through it.

The Leica craziness to get to the purest photographic experience plus their limited series thing made me think. I’m an experienced machinist having 3D design programs, computer controlled machines, CAM and fast prototyping to my hands. I work together with the Product Design department of the University of Antwerp. Maybe I could design the unique, ultimate camera for the Leica man.

It proved both very tough and simple: A Leica Man discovers images, recording them is already below him, that’s for other people. He doesn’t need film or silicon to convey his vision.

So I came up with this design:

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Most importantly: the red dot.

No lens. The Leica man’s eyes are sufficient.

No film or sensor.

No settings

One hole to look through, superfluous, because the leica man needs no aids for composition. The hole is carefully crafted round because roundness is perfection, like the round red dot.

No rangefinder.

One hole for the strap.

316 stainless steel for thousands and thousands of years of non destructibility. Carefully partially deburred by hand by a dedicated, experienced craftsman while still showing the roughness of the initial machining. The 45 degrees angled edge is a very personal artistic statement and the only give to brutal functionality. The ultimate limited series of only one!

Price: if you want to know it, you can’t afford it, of course.

Sorry, I just had to get it out, this is what the Lenny Kravitz Leica does to me.

Dirk.

Mar 242015
 

Quick Crazy Comparison! Leica M-P 240 with 35 Cron vs Sony A7II with 35 Zeiss Loxia!

JUST FOR FUN!! I have a Leica M-P 240 here with a Leica 35 Summicron ASPH. I also have my A7II with Zeiss 35 Loxia so I decided to run out back to take a couple of TEST shots, just for fun. I was curious about BOKEH of each lens and for my tastes, the Leica 35 Summicron won the Bokeh test for me. The Loxia is a tad busy in comparison. In either case, both of these cameras and lenses can do wonderful things but there are small differences in IQ and HUGE differences in using the cameras.

I have become so used to my A7II and Manual Lenses I adore the EVF and accurate focusing. With the M I adore the experience of shooting a rangefinder in a mature digital body. I also love the battery life of the M. Below are a couple of shots all wide open at f/2 to see the character of each lens. Nothing more, nothing less.

All were RAW and colors were not tweaked. What you see is what came out of the RAW conversion except for test shot #2 where I converted each to B&W to see if there was a difference. I used Alien Skin for the B&W conversion. Click images for larger versions.

You can read my A7II review HERE or my Leica M Review HERE. 

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Mar 212015
 

HANDS ON: The New Voigtlander 15 f/4.5 V3 VM lens – Quick 1st test vs the V2

Lens now available and in stock at CAMERAQUEST.COM

Just arrived! The all new Voigtlander 15 f/4.5 Version 3 Lens, in VM mount (Leica M Mount) and so far so good! As we all know, Version 1 and 2 had issues when used on a Leica M camera or the Sony A7 series as we would get colored magenta edges or massive vignetting. Voigtlander HAS indeed seemed to fix this issue in the new version of the 15 f/4.5 Lens. While the lens is a little larger, and a little more expensive at $750, it seems to perform MUCH better on the Sony A7II vs the old version of this lens.

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It actually JUST arrived to my house 20 minutes ago. First thing I did was take it out and do a quick side by side test. One shot with the new V3 lens and one shot with the older V2 lens. The new version has no colored edges or issues which means we finally have a usable 15mm wide-angle prime for our A7 and M cameras that will not break the bank!

Next week I will post real samples from this lens on the A7II, A7s and Leica M 240.

SIZE: New V3 on the right vs the older V2 on the left

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For now, one quick sample – full size images shot on the A7II. This is a TEST shot, not a “photograph” that has any meaning.

The original seems to do OK on the A7II but with dark corners and edges. The new version clears that up. Looks good, so I can not wait to test this lens thoroughly on the A7II and Leica M 240. 

Right click each image and open in a new window for full size file

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Two shots to show no issues at the edges on the A7II, AT ALL! 2nd shot is ISO 4000 with Zero NR – click for larger

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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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Mar 182015
 

New black chrome Leica 35 Summicron and 1959 50 Summilux ASPH!

Two legendary lenses, the Leica 35 Summicron f/2 ASPH and the Leica 50 Summilux 50 1.4 ASPH are getting a facelift from Leica in the form of all new black chrome versions. The 50 Lux ASPH is GORGEOUS in the new finish as they designed it much like the older classic 50 Lux lenses, in fact, from the 1959 Leica 50 Summilux! I WANT IT just for the beauty of it, and of course being a LEGENDARY lens.

The black chrome 50 Summilux ASPH 1.4

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While these are the same tried and true lenses from Leica, we do get the striking black chrome finish with red accents. I feel the above 50 Lux is so much more beautiful than the standard version.

Here is what Leica says about the new lenses:

“Leica Camera now offers the Leica Summicron-M 35 mm f/2 ASPH. and Leica Summilux-M 50 mm f/1.4 ASPH. lenses in an alternative black chrome version. The matte black surfaces lend both reportage lenses a unique look and the extra benefits of a particularly robust and resilient finish.

Up to now available only in black anodised and silver chrome versions, the new black chrome lenses also offer new design features. For example, the Summilux-M 50 mm f/1.4 ASPH. revisits the classic design of its predecessor from 1959. Typical features of this are the scalloped focusing ring with knurled segments and the finely knurled aperture ring. In addition, the focusing scale in feet is picked out in red on the black chrome lenses. The new version also includes a round lens hood and a lens cap – both made from metal.

The Summilux-M 50 mm f/1.4 ASPH. is the standard lens for the rendition of subjects in their natural proportions. Its high speed makes it ideal for available-light photography, the use of selective sharpness and art photography and also makes it a first choice when building a basic stock of Leica M-System equipment.

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The Leica Summicron-M 35 mm f/2 ASPH. is distinguished by its excellent sharpness, high contrast and exemplary resolution at all aperture and distance settings. Despite its high speed and exceptional imaging performance, it remains an astoundingly compact lens. Equipped with this 35 mm lens, every Leica M-Camera immediately becomes an extremely compact, versatile and elegant photographic tool.

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In terms of its technical specifications, the lenses are identical to the serial production versions. The lenses will be available through authorized dealers at the end of April 2015.

PRE-ORDER from:

KEN HANSENEmail him at [email protected]

POPFLASH.COM!

LEICASTOREMIAMI.COM

THE PRO SHOP for photographers! 

Mar 172015
 

titlebjarke

2014 in Twelve images

by Bjarke Ahlstrand

Hi Steve,

Another year has passed, and at least from my perspective 2014 was extremely busy. I fulfilled a dream of mine and opened a rock bar, Zeppelin (www.zeppelincph.dk), + my very own photographic haven/store, One Of Many Cameras (www.oneofmanycameras.com), here in Copenhagen, where I live. The camera store, which deals with both new and 2nd hand stuff gave me even further possibilities to explore the photographic medium and although it hasn’t exactly cured my GAS, it helps that I can just borrow stuff from the shelves now and then :-)

I only shoot manual lenses as they fit my shooting style the best, and I spend most of my photography time on celluloid, expired chemistry and especially large format portraits, but that ol’ Leica M9-P of mine is still my favourite digital camera (since I can’t afford or justify a Monochrome, hehe), but I also adore the little MicroFourThirds camera which was given to me as a x-mas present by my One Of Many Cameras partner Daniel because of its portability, since the large format cameras are a bit bulky to drag around. My work can be seen here: www.oneofmany.dk and www.polaroid.com

Anyways, here goes — once again — 12 images, 12 cameras, 12 months – this time for the year 2014.

***

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photograhic fibre paper used as a paper negative · ISO3

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January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photographic fibre paper used as a paper negative · ISO3

I’ve been working on a book/exhibition the last couple of years. It’s gonna be called “After” and will feature 130+ portraits of my girlfriend, all shot immediately after we’ve had sex. There will be no pornographic content or nudity but “raw” portraits that try to capture that very special moment just “after”… I went about it in a dogmatic way, so I decided that all had to be shot within a five minute time span and I would max make 3 exposures. It was very challenging as many of the shoots were rather trivial when it comes subject, and location of course, but I managed to use a great variety of cameras and now in the final editing stages of the book, I believe it turned out okay. The book will be published around May/June if everything goes as planned. For this particular shot, Katja laid still for 8 seconds while I captured the light.

***

February · Leica M9 · 50mm Summilux Asph @ f/2.8 · ISO200

2014_02_LeicaM9_50summilux_iso200_Lucer

Still love the Leica, still love rock ’n roll, and I still have a record label, so I actually managed to shoot quite a few album covers in 2014, this being one of them. With vinyl making a serious comeback it’s a joy to shoot band pictures again. The band is called Lucer and they play high-octane rock. Be sure to check them out on Spotify –– or even better, on vinyl.

***

March · Goecker Studio Camera · 270mm Dallmeyer 3B Petzval · Expired Ilford Multigrade photographic paper used as paper negative · ISO3

2014_03_8x10_paper negative scan__Goecker Studio Kamera_Dallmeyer 3B_iso3_Street

I bought an old wooden large format studio camera, dating back to 1913 and it came with a wonderful Dallmeyer Petzval from the 1860s’ so I decided to drag it outside our little camera store (which is also a studio) and test it out. Two teenagers were walking down the street, but I convinced to them to stand still for 1 second while I used my hand as a shutter. Notice the Petzval curve, it’s absolutely wonderful. Oh yeah, the logo of One Of Many Cameras is actually the Petzval lens design from 1840 – both my partner Daniel and I even got it tattooed, so I guess that lens is rather special to me.

***

April · Fuji GX680III · 125mm GX f/3.2 · Ilford Delta 100

Picture 521

Even though I love large format and the creative possibilities it gives regarding perspective and focus, it’s not exactly portable. Enter the Fuji GX680III, a high-end medium format camera from the final days of the professional analog era. It has a small bellow and therefore tilt-shit capabilities and you can cram 8 images on a 120-roll film, so economically speaking, it’s quite okay (compared to large format). You can shoot the camera handheld – and those Fujinon lenses — whauh. This one in particular, it’s perfect. My youngest clone was shot wide open at f/3.2. Love the bokeh.

***

May · Kodak DCS PRO SLR N · 55mm Nikkor f/1.2 · ISO160

2014_05_Kodak DCS PRO SLR N_55mm Nikkor f12_iso160_Mikkel Munch Fals

I don’t want to (re-)start the whole CCD vs. CMOS war, I’ll just conclude that you’ll find on the CCD-side when photographic civil war begins. I haven’t owned a DSLR since I sold my 5D Mark III and I swore I’d never go down that road again… But then I was presented with this Kodak beauty, the first full frame pro digital camera, which cost a fortune back when it was introduced, and having never shot Nikon glass before (!) I couldn’t resent the 55mm Nikkor f/1.2. The 3 included batteries last only 5 minutes each, the camera breaks down constantly, has many quirks and is hardly usable above ISO400… But that Kodak CCD sensor is absolutely wonderful… I get the same feeling as when I look at images from my Leica M9-P and Hasselblad H3D-39. If I’m working digital (and not doing video), I’ll definitely go for a CCD-camera.

***

June · Leica Monochrome · 50mm Apo-Summicron f/2 Asph · ISO320

2014_06_LeicaMonochrome_50apo Summicron_iso320_beach

Had the chance to spend a day with the APO-Summicron. Took it to the beach along with a Monochrome. Nice combo. Stupid price tag, though.

***

July · Leica M9–P · 35mm Summilux f/1.4 Asph FLE · ISO160

2014_07_LeicaM9P_35mm Summilux_ISO160_Barcelona

Took my two clones to Barcelona for our summer vacation, alongside a couple of Leica’s and the Fuji GX680 monster. I keep coming back to the Leica, it’s “like home” every time I shoot it. The swimming pool was nice, too.

***

August · Sinar P2 · 36cm Voigtländer f/4.5 · Impossible Silver Shade 8×10” Polaroid

2014_08_8x10_Polaroid_sinar_p2_36cm_heliar_iso640_herod

Having a record label is nice because you get to meet some really cool people, in this case the Swiss noise-rockers Herod who performed here in Copenhagen, and stayed at my place for a couple of days. I dragged the boys to my attic alongside my Swiss 8×10” large format Sinar camera, and shot an 8×10” Polaroid polaroid. The lens was stopped down at f/5.6 (which is like f/1.4 in 35mm terms regarding depth of field), but with the help of the movements of the camera, I was able to get all 4 members (relatively) sharp.

***

September · Kodak Master View 8×10” · Rodenstock 210mm Sironar f/5.6 · Ilford Direct Positive Paper · ISO6

2014_09_8x10_directpositivepaper_Kodak master view_210_mm_sironar s_iso5_undergang

Another band photo, this time around it was the death metal act Undergang, who were about to embark on a 5 week US tour and needed a band photo for their upcoming LP, so of course we went to a cemetery. I brought an antique Kodak Master View 8×10” large format camera and some Direct Postive Paper, and I snapped this ghoulish portrait with the Rodenstock lens shot wide open. Again with the gigantic negatives (1 x 8×10″ negative = 1 roll of 35mm film), the depth of field is extremely shallow, only a couple of millimeters but that old Kodak large format camera with its bellowsmovements made it possible to get them all “pretty sharp”. I made the vocalist only show the white in his eyes for the second I exposed the Direct Positive Paper, which indeed is a fantastic medium when working with the large format, since it’s like a Polaroid (positive) and you can handle it under red/safe light which makes it much easier than the negatives.

***

October · Sinar P2 5×7” – 21cm Voigtlander Petzval · Expired Ilford photo paper

2014_10_5x7_Sinarp2_21cm_Voigtlander_iso2_when the silver runs dry

One Of Many portraits of my favourite subject(s) – my clone, Hjalte. Almost 16 years old, he looks nothing like the child I’ve been documenting for many years now, as he’s growing rapidly, physically as well as mentally. Teenagers are hard to shoot since they’re pretty demanding, and pretty pimple ridden, but I’ve been experimenting quite a bit with expired analog materials and decided to try to drag the absolutely last silver out of some photographic paper which expired the year Hjalte was born (1999). He sat still for around 4 seconds while I underexposed and then the negative laid in the (also expired) chemistry for around half and hour before it was fully developed. I love it, one of my favourite portraits of 2014.

****

November · Sony A7S · Leica 75mm Summilux f/1.4 · ISO1600

2014_11_SonyA7S_75 Summilux_iso1600_Ruth Storm

Yes, I love old cameras (and especially lenses) but of course I also embrace new technological wonders –– like the Sony A7S. Most of my work is shot at extremely low ISOs, but the A7S opened new doors for me with its extreme low light capabilities. I’ve shot portraits for record covers at ISO 100.000 (!) which look fine on print – and my Leica lenses all perform wonderful on that little Sony. And the ones that can be hard to focus on a rangefinder are easy to nail spot on with the focus peaking turned on. Sometimes I wish the A7S had just a few more pixels as 12mp isn’t a lot for print/pro work, but I use it mostly for videos anyway, and there it reigns supreme.

****

December · Panasonic DMC-GF5 · 1″ Taylor-Hobson f/1.9 · ISO1600

2014_12_Panasonic DMC-GF5_1inch Taylor-Hobson f19_iso1600_trine tree

Yeah, I prefer large format and medium format, and full frame digital sensors. But lately, I’ve come to love a small, not-very-special little Panasonic pocket camera (DMC-GF5) – due to one fact: its MicroFourThirds sensor and the c-mount adapter that came along the little x-mas presents. That combo opens totally new doors when it comes to lenses and look. Old 16mm film lenses (c-mount) shine on that little digital sensor (the ones that cover it that is) and since the camera is very cheap (and lenses, too) I bring it everywhere for snapshots that otherwise were reserved for my iPhone. Here you see the newest member of the Ahlstrand-clan, Trine The Cat, climbing unto a x-mas tree. Nothing fancy, just one of those “family shots”, but I really dig the look of that tiny 1960s 16mm film camera lens, which I just had CLA’ed by my friend, Professor Olsen (repair-guy at One Of Many Cameras).

That’s it. Enjoy.

Mar 162015
 

battle-title

Battle of the Champions: Leica M & 50 APO vs Sony A7II & 50 Zeiss Loxia

by Brad Husick

It has been an exciting few years in the development of high-end digital cameras. With the advent of full frame sensors in compact mirrorless bodies, it is now possible to obtain truly outstanding results that can be printed at virtually any size for the home or gallery.

My objective in running this test was to examine the image quality of two of the most highly regarded full frame digital mirrors cameras today – the Leica M model 240 ($7,250) and the Sony A7-II ($1,699), paired with the best available standard optics for each. For the Leica the choice was obvious in the Leica 50mm f/2 APO Summicron ($8,250) and for the Sony the Zeiss Loxia 50mm f/2 Planar T* ($949). The prices listed here are retail. Street prices can be lower.

The cameras are very different from each other and there are many articles and reviews that go into these differences. My purpose here is to look only at image quality regardless of other factors such as price, functionality, shooting style, build quality, etc. The key question here is which camera and lens combination produces the best images under a variety of real world shooting conditions. This is not a scientific laboratory bench test, it is meant to see how well the cameras do under reasonable realistic conditions.

My methodology was wherever possible to shoot the lenses wide open at f/2 and match the other shooting settings as closely as possible, including ISO and shutter speeds. Both cameras were shot in RAW and the images are displayed in Adobe Lightroom 5.7.1. No adjustments other than tiny overall exposure movements used to match the images were made. Settings were left in default positions and do not differ between camera images.

These lenses are both manual focus lenses so I used each camera’s focus magnifying tool at maximum to obtain the sharpest images I could. I did not achieve 100% focus accuracy despite using a tripod for all the indoor shots and high shutter speeds for the outdoor shots. This points to my abilities and the nature of f/2 lenses having very thin depth-of-field when wide open. The indoor shots were taken at ISO 1600 and the outdoor shots at base ISO 200. The wind was blowing at about 5 mph outdoors. The cameras were set on manual exposure and automatic color balance. I did not re-adjust color balance once in Lightroom. These are “as-shot” images.

Each comparison starts with a “master” image showing the entire frame, followed by a few 100% zoom details taken from various positions around the frame.

Rather than try to make this a guessing game, I will tell you up front that each of the side-by-side comparisons has the Sony on the left and the Leica on the right.

I leave it up to you to draw your own conclusions about the relative strengths of each image.

My conclusion, with which you should feel free to disagree, is that there is a surprisingly small difference here. Based on image quality alone, it’s very difficult to choose. I must conclude that both systems are capable of producing outstanding images, and other factors such as price, preferred shooting style, features and functions, and others are much larger influencers in the decision between these cameras and lenses. One might come to the conclusion that if you choose to invest $15,000 in a Leica system then $2,700 for the Sony system is cheaper than buying one more Leica lens, so why not own both if you care to?

I hope you enjoy this comparison.

IMAGE ONE – FULL FRAME

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Sony crops on left – Leica crops on the right – click them for full size crops!

(Steve’s Opinion: The Loxia is sharper here in these MAP crops to my eye)

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IMAGE TWO – FULL FRAME

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Sony crops on the left, Leica crops on the right – click them for full size crops

(Steve’s Opinion: These appear to be so close, I would call it a tie)

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IMAGE THREE – FULL FRAME

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Sony crops on the left – Leica crops on the right – click them for full size crops

(Steve’s Opinion: What sticks out to me here is the warmer WB of the Leica, sharpness seems similar)

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IMAGE FOUR – FULL FRAME

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SONY LEFT – LEICA RIGHT – CLICK ‘EM!

(Steve’s Opinion: The LOXIA seems sharper in crop 2 and 3 with Leica for the 1st)

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IMAGE FIVE – FULL FRAME

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SONY LEFT – LEICA RIGHT – YOU KNOW WHAT TO DO!

(Steve’s Opinion: To my eye, APO wins this one)

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IMAGE SIX – FULL FRAME

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: LOXIA wins this one – less CA and sharper)

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IMAGE SEVEN

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: These are close, VERY close)

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IMAGE EIGHT

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: Again, VERY close but I pick APO for this one)

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IMAGE NINE

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: Almost a draw again but the APO Bokeh is a TAD smoother)

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Best regards,
Brad

Feb 242015
 

Leica M-P 240 Lenny Kravitz Edition “Correspondent” Special Edition

Leica M-P_Special Edition_Lenny Kravitz_all_sharp

*Wow. You can pre-order yourself one at Leica Store Miami HERE. ;) 

Leica is at it again! Another special edition. Last week was the Olive “Safari” Leica M-P 240 Set (Which I loved BTW as it was less expensive than the standard for a SE) and now the Lenny Kravitz “Correspondent” edition which consists of a special M 240 that has been hand brassed to give it that well-worn look. The two lenses included are two of my favorite versions of Leica glass ever, BLACK PAINT 35mm f/2 and the 50 1.4 Summilux which are also brassed by hand.  A great set. The camera is extravagant of course with its 125 piece run and the snakeskin covering on the camera and the briefcase.

Leica-M-P-Correspondent-camera-by-Lenny-Kravitz-2

This set will have loads of haters and attackers for many reasons, I am already seeing it on other websites, even Leica’s own FB page. Creating a Limited Edition set for another celebrity due to the “celebrity status” is off putting to many. The way I look at it is this:

This is a LIMITED EDITION set of only 125 sets. MANY who buy this will store it and keep it for 20 years to resell at that time. It is what it is. Some will use it (I would) and some will scoff at the brassing done by hand as this does not show REAL use of the camera. It comes across as fake. Still, when I look at it I see a gorgeous camera in black enamel (my fave finish for Leica M’s) with the beautiful brass peeking through the camera and the lenses. It’s beautiful. At the end of the day its an M 240 with two amazing lenses in a collectors kit. It will sell out quick, mark my words. There is a market for these or else Leica would not make them. If I had the spare cash to spend, I would buy it in a nanosecond as to me it is a gorgeous version of the M 240 and the two lenses I adore. For me, the name attached does not mean anything but the camera itself is what makes this kit flat-out gorgeous. Leica will sell out, make a nice profit so why wouldn’t they make this set? This is what we expect from Leica is it not?

LEICA-M-P-CORRESPONDENT-SET-CREATED-BY-LENNY-KRAVITZ-FOR-KRAVITZ-DESIGN

But here is the kicker that kills it for anyone but the collector. This set is $24,500. THIS rules out mere mortals ;) It’s beautiful, it’s gorgeous, it is stunning…but $24,500? Crazy. If it were $17,500 I would maybe consider it, but reality would kick in and it would never happen. Even so, 125 lucky people will own this set! :)

You can pre-order yourself one at Leica Store Miami HERE. This set will only be available at select Leica Boutiques. 125 Sets worldwide. 

Leica-M-P-Correspondent-camera-by-Lenny-Kravitz

Press Release:

Special limited edition:
LEICA M-P ‘CORRESPONDENT’ SET CREATED BY LENNY KRAVITZ FOR KRAVITZ DESIGN

In collaboration with Lenny Kravitz – the musician, actor and designer– Leica Camera AG, Wetzlar, presents a special camera edition set: the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN. The edition comprises a Leica M-P digital rangefinder camera and two fast classics from the range of Leica lenses – the Leica Summicron-M 35 mm f/2 ASPH. and the Leica Summilux-M 50 mm f/1.4 ASPH. – delivered as a set in a bespoke case. The special edition is strictly limited to 125 sets worldwide and will be available from March 2015.

Leica’s collaboration with Lenny Kravitz was born out of the artist’s passion for photography. The first camera Kravitz ever used was his father’s Leicaflex which he received at age 21, as a gift from his father. The unique, distinctive design of the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set was created in reminiscence of this beautifully aged Leica camera. For instance, the glossy black enamel of the camera and the two lenses have been intentionally aged in homage would usually point to many years of constant use. To achieve this look, every camera and lens of the edition was ‘aged’ entirely by hand to create absolutely unique individual products.

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Another characteristic feature of the edition sets is the unusual trim of the Leica M-P cameras in the finest-quality yet very durable snakeskin – naturally from controlled sources that are not to a well-used camera system, showing a distinctive patina that subject to species conservation regulations. This material in premium glossy black is also used for the camera strap and wrist strap that are included in the sets. The LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set is stylishly complemented by a custom case handmade in Germany specially for this edition. The custom case picks up the product design theme and is covered with the same material as the camera.

A particularly interesting feature of the set is the special version of the Leica Summilux-M 50 mm f/1.4 ASPH. This lens has been constructed in the classic design of its ancestor from 1959 and reflects the typical features of its predecessor – for instance, the scalloped focusing ring and a finely knurled aperture ring.

The camera and lenses of the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set are otherwise identical to their series production equivalents in performance and technical specifications. The Leica M-P offers all the technical advantages of the Leica digital rangefinder system cameras and possesses the same enduring and robust qualities for which the Leica M-System is renowned. In the case of the two Leica lenses, their essential properties include superior optical performance and extreme versatility.

A book of Lenny’s photography entitled Flash will be published by teNeues and available for purchase from March 15, 2015. Kravitz’s photography offers unusual insights into the nomadic life of a musician ‘on the road’. In addition to being distributed by the publishers, the book will also be offered for sale by Leica Camera in Leica Stores and Leica Boutiques.

Lenny Kravitz will be showcasing photographs from this book at the Leica Gallery in Los Angeles. The exhibition will be the first in a series showcases of the artist’s photography from the book around the world during 2015. The show, Flash by Lenny Kravitz, at the Leica Gallery in Los Angeles will be open to visitors from March 6 to April 12, 2015.

Feb 202015
 

28 images from the A7s, A7II, E-M1, E-M5II, Fuji X-T1, Fuji X100T, and M 240

Hello to all and HAPPY FRIDAY! After I posted my recent E-M5II Camera review (see it HERE) many have been asking me THIS question:

“NOW I AM CONFUSED! What camera do I buy? The E-M1, E-M5Ii, A7II, M 240 or Fuji?!?!

Yes, I get these questions daily and I never give a definite answer as this choice is personal. That would be like asking “what car should I buy” or “which house should I get”? A camera is a personal choice and the reason these reviews are written is so all of you can read and make an informed decision. I understand how hard it is, believe me. But just know that any of these cameras mentioned are truly fantastic and can get the job done. If you are in love with PHOTOGRAPHY and the art of making memories and making art, ANY of these will do.

If you are a pixel peeper it is best to go for something super high res like a Sony A7r as that will give you something to zoom in on and measurbate to. Me, I prefer real photography and making memories as I go on this long journey that we call life. A camera, to me, is made to capture those moments we lose and those memories that in 10-20 years will be very foggy for our aging brains. Looking back at images remind us of the many good times, the family, the friends, the sad times and the exciting times. THIS is what it is all about for ME. I do not pixel peep, I am against it. I occasionally will post crops just to show those who love that sort of thing how much detail we can get but overall it does not matter. At all.

Any of the cameras below can make LARGE prints (I have a 20X30 from E-m1, it is gorgeous. I have larger from my A7II, beautiful). So remember, ANY camera will get you the memories you want to capture but the main difference between them is HOW YOU GET there!

Yes, some cameras make it a joy to get your memories while others make it a pain. Some will get you there with amazing technology and others with their simplistic charm. Some will offer you bold looking files and others a more natural looking file. Some will offer you tools to help you (such as 5 Axis IS or a nice large EVF) while others make it a challenge (Leica M RF).

Below I have chosen 7 images from the A7 and A7II, Olympus E-M1 and Em5II, Fuji X-T1/X100t and the Leica M 240 so you guys can see in one place, the differences between full frame, APS-C and Micro 4/3. Depth of field will be different, color will be different and the overall vibe will be manufacture specific. I have no secrets here on this blog and I always tell it like it is..FOR ME and MY tastes. Not everyone will agree. But enjoy as I share my thoughts on these different mirrorless systems.

SONY A7s and A7II

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The Sony A7 series appeared with a bang when the A7 and A7r were announced. Full frame small mirrorless cameras that performed amazingly well with rich files, rich color and decent usability. While slow in Auto focus and a bit clunky with the early models, the newer A7s and A7II improved things such as AF speed and accuracy, high ISO capability and in the case of the A7s, amazing capabilities with Leica M glass. I love the A7s and A7II with a preference to the new A7II for its better build, 5 Axis IS, and gorgeous IQ (for me, the best of the A7 series IQ). If you want that full frame creamy look with massive shallow depth of field, Full Frame is where it is at. APS-C or Micro 4/3 can not do it to the level of full frame.

If you want the most dynamic range, usually a full frame sensor will give it to you as well. On the other hand, shooting fast lenses on full frame can be difficult as the Depth of Field can be so slim and narrow many times people misfocus. But when you nail it, it can be gorgeous.

The Sony system is still somewhat new, less than 2 years old yet there are many lenses out for the system already, and me, I like to use Leica M glass and old exotic lenses with my Sony’s.

CLICK all images for larger and much better view

The A7II and Leica Noctilux at 0.95

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ISO 32,000 with the A7s – Mitakon 50 0.95

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The A7s – click the images for moire detailed versions! What you see here is NOT the best way to view them. You must click them!

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The Sony A7s and 55 1.8

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A7s again..

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A7II and Noctilux..and amazing combo

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An OOC JPEG at ISO 8000 using the 35 2.8 Zeiss lens

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The Sony A7II represents the best of the Sony A7 line for me. It has all you need to create beautiful rich files. Wether you use native lenses or Leica M glass or old vintage rangefinder lenses, this is the camera that can handle it. The A7s is the king of the night, with amazing low light and high ISO abilities. The A7II can not come close to this ISO performance but IMO beats the A7s in overall IQ. The A7 series is doing VERY well for Sony, above expectations so this is good and can not wait to see what they come out with next.

Fuji X-T1 and X100T

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Ahhh, Fuji. Many love Fuji and they have some hardcore fans, that is for sure! Me, I like Fuji. I used to LOVE Fuji back in the days of the S5 pro and original X100. Today I feel they went a bit backwards with the X Trans sensor. I just do not like it as much as the original sensor from the X100. When I look at any Fuji images (not just mine) they have a look to them from the X Trans that while nice, is not my preferred look. In fact, its at the bottom of the heap for me. There is something un-natural about the files for my tastes but even with that said, this is a personal thing and what I may dislike, someone else may love to death.

Many love Fuji and that can not be denied. They sell well and they do “Fuji Color” very well. Where it falls flat for me is true low light ability. The files get “dirty” and “mushy” in low light and this is why all of the really great Fuji images in recent years were shot in amazing light. Give the X Trans amazing light and it will reward you. Give it dull or low light and it will not. For me, the Sony files and the Olympus and Leica files below beat the Fuji when it comes to overall IQ.

Body wise, the X-T1 is fantastic. Its a wonderful body but still compared to the A7II, E-M1, and M 240 it feels the lowest quality of build. It is not bad in build, but when you compare side by side with the competition, it feels a bit lacking and hollow. Much better than previous Fuji bodies though. Fuji has come a long way since the X-Pro 1. Now they have much faster AF, world class EVF (best there is), nice external controls for all of your needs and great usability. If Fuji still used the old X100 sensor I would own an X-T1 :) That X-T1 above looks AMAZING doesn’t it?

Typical Fuji look in normal light..

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I always have issues with the X-Trans blowing highlight, even if using the extended DR modes (which make the image look very flat imo) – Here the bird is exposed correctly but the highlights have blown. There are many examples of this and i never have this issue with my other cameras. Nothing I did could save the blown out highlights here or in other X-T1 images. 

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The good thing about Fuji is they support their cameras NON STOP. Firmware releases are regular and they fix bugs that pop up, improve AF speed and do good things AFTER you buy the camera. They are improving their bodies non stop as well, and the X-T1 is a winning body without question and I am sure they will keep coming out with better and better cameras. One of these days I will buy myself a Fuji :)

Olympus E-M1 and E-M5II

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To me, this system is so mature and so well executed today that these are some of the best cameras you can buy today, regardless of mirrorless or DSLR. There are a thousand reasons for this from size, build, pro level features, freeze, shock, weatherproof…huge EVF, super fast AF, amazing 5 Axis (best in the world), awesome video in the new 5II as well as the rich files with superb color richness as well. Some of my favorite images of my life were shot on 4/3 and Micro 4/3 systems and I place this just behind the Sony A7II and Leica M for IQ.

Today, the E-M5II and E-M1 meet or exceed nearly all APS-C cameras for build, speed, features, capabilities, color and yes IQ. It can not beat a full frame model for Dynamic Range, Details or high ISO but it holds its own and then some for APS-C and for me, the E-M1 is probably the best camera body I have used, ever. I am talking about the whole package… build, features, speed, controls, versatility, what is possible with them, etc. As I said, IQ is just behind the full frame models. It really is.

Even so, Olympus is doing great things and they are the inventors of Live View, Dust Cleaning in camera, 5 Axis IS, and more. Good to see them still innovating. I also feel the best lenses next to Leica M are right here for Micro 4/3, from the Nocticron to the 75 1.8 to the 40-150 to the 12mm f/2 to the f/0.95 Voigtlanders. So many choices.

Shot with the 17 1.8 at 1.8. Amazing lens with just the right amount of detail and tones.

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The 40-150 – the color here is WOW. JPEG. The way I brought this out is by using SPOT metering. 

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The 12-40 f/2.8 pro zoom. One of the best standard zooms I have used. 

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The 17 1.8 again, smooth, sharp and wonderful bokeh.

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Nocticron goodness…f/1.2

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The Voigtlander 25 0.95 at 0.95 – THIS is a special lens. 

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Olympus have created quite the tool for the PHOTOGRAPHER who puts his priorities at capturing the image, the moment, the memories. The Af doesn’t let you down, the controls are spot on and the build is the best of the lot. Lens choice is plentiful and its only weakness is that it will not give you full frame shallow depth of field (but neither will APS-C). For me, the E-M1 and E-M5II beats most APS-C camera as a whole, without hesitation, even factoring in size. Now there are some great bodies by Panasonic as well but for me, they do not have what it takes to take on Olympus’s E-M1 and E-M5II.

Leica M 240

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Ahhh, the system I loved and used for many years, ever since the film M7. I have had an M ever since from the M8 to M9 to MP (film) to M9P to M-P 240 to Monochrom. I have had them all and loved them all. For me, this is the pinnacle of simplicity. Real photography. Not much in the way of features but this is how it should be with an M. Just you, the camera, and the subject. Nothing to worry about  – just focus, set your aperture/exposure and shoot.

The Leica M is an all time favorite of mine, hands down. The only issues today is with cost. Buying an M 240 and 50 APO will set you back $15,000. Buy a used M and used Voigtlander lens and it will still set you back $6k. You have to be majorly dedicated and have a nice padded bank account to jump in today,  so not everyone can.

Today with cameras like the Sony A7II leica seems to be losing some ground. Back in the M9 days they ruled the roost as there was nothing quite like the M9 in use or in age quality. Today, there are  a 1-2 mirrorless cameras that meet or exceed the M 240 image quality and color and for much less money. While you will never get the experience of the M from a Sony, Fuji or Olympus and you will never get that true pride of ownership with anything else (once you feel and shoot with an M it is tough to go to anything else) you will get IQ that can beat it from other cameras. Today Leica is not “the best” in IQ but they are “the best” in lenses, experience, build, and feel AND simplicity. The M lenses are the best in the world IMO and they are SMALL and built like mini tanks.

I love Leica, and I love the M 240. Period. It’s has some magic in the bloodlines but today it is getting harder to justify unless you REALLY only love RF shooting and have a big fat bank account.

The M with the 50 APO

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The M with a Voigtlander 50 1.5

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The M with a 90 Elmarit

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50 APO again

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Noctilux

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As I look back at these random images I chose for this article I study them and not only am I looking at the file quality and character but I am remembering the times I had shooting those images and according to my memory, the most fun I had shooting was with the Leica M, hands down. Then it would be the E-M1 and E-M5II, then the Sony A7II and A7s and then the Fuji. All have the capability to capture your frames in high quality but the one you choose will be part of your personal journey. The one that speaks to YOU, not ME. So next time you get ready to send an email asking “What should I buy” – ask yourself this question and go with you 1st gut instinct. That is usually the correct choice :)

You can see my full reviews of the cameras listed above:

Sony A7IISony A7s - Fuji X-T1Fuji X100T - Olympus E-M1Olympus E-M5IILeica M 240

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 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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Feb 032015
 

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Why do I want the Leica M Edition 60 So Badly?

by Brad Husick

The other day I stopped by our new local Leica store in the Bellevue Square Mall in Bellevue, WA near Seattle. It’s a lovely, large space with knowledgable people and a very nice selection of Leica gear.

One collectible they had in the store was the limited edition Leica M Edition 60 set which is comprised of a stainless steel M body with no LCD, and no other buttons on the back except an ISO dial in the place that older Leica M film bodies had their ISO / ASA dials. It shoots RAW only. In addition, the set comes with a stainless steel M 35/1.4 lens with a special hood, plus a leather half case and attached strap, as the camera body has no strap lugs whatsoever. Don’t lose the case or your camera will have no carrying capability other than in your hand.

Now, I am not a 35mm focal length shooter, I am more of a 50mm guy, so I don’t really get pleasure from their kit kens in this case, but I have the fortune to have the 50mm f/2 APO-Summicron, perhaps the finest 50mm lens ever made. I love this lens. It’s virtually glued to my Monochrom.

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But back to the M Edition 60 camera. This is really nuts, right? No LCD, no menus, no settings, no way to review (chimp) your photos to know if you got the shot. Surely some Leica people were smoking some really good plants when they though of this one. I can hear the conversation around the conference room: “Tell you what, let’s remove the LCD altogether and make them guess if they got the shot! That will be hilarious!” That’s what I thought too when I first heard a rumor that this was coming. I was pretty shocked when the rumor turned out to be true.

Now several months after the launch I walk into that Leica store and just for grins I ask if I can hold it in my hands for a few supervised minutes. They say yes (I had to throw some important names of friends around to get them to take me seriously) and I pick up the camera. It’s heavier than I imagined and I now understand why nearly no cameras on Earth are made from stainless steel. It’s not bare metal either, it’s painted a light anthracite color. It’s beautiful and unique among Leica cameras before it.

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I fondle it for a minute, turning the dials and looking through the viewfinder. It’s just like my M240, but there’s something different, something unique about it from any digital camera I have ever held. Then it hits me. This is really just like a film camera – I will have to wait until I get home or near a computer to see the images I took. And this is the crux. Nothing stands in your way of actually capturing images. You have no choice but to keep shooting and composing and adjusting and shooting. There’s no chimping, no stalling to play with settings when you should be shooting. And unlike film, there’s virtually no limit to the number of exposures you can take.

Don’t get me wrong, this is not a spray-and-pray experience like that of a fast DSLR when shooting sports. The M is still limited to a few frames a second in continuous mode, and I don’t use that mode on M cameras. This is about taking photos and nothing else.

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It reminds me of the renaissance I had in my photography when I got my first real digital camera, the Nikon D1. It freed me in a way that no film camera before it could have possibly done. I was now taking photos rather than worried about how many of my 36 exposures I had left in the camera.

It also reminded me of the second renaissance I had in my photography when my good friend Ed Furia told me to try shooting with a Leica M3 to experience what a rangefinder camera was. For the first time both my eyes stayed open, I could frame and anticipate inside the viewfinder, it slowed me down enough to take photos rather than snapshots and people I were shooting were not afraid of the giant SLR in their faces and they relaxed and smiled. Yes, it was totally different from shooting an SLR and I loved it. I have now owned every Leica digital M they have made except the silly limited edition cosmetic ones.

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This M Edition 60 is no silly limited edition. Well, it’s a little silly. Getting rid of the strap lugs is silly. Making it from stainless steel is a bit silly. Certainly the $18,500 kit price is silly in the extreme. But the IDEA of the camera, the way it functions, the way it MAKES you shoot is the opposite of silly, it’s sublime. It slows you down in the best way like other rangefinder cameras do, and then it does something magical. It gets out of the way and lets you take photos like no other digital camera can do. Film cameras do this, but then you’re always worried about how many frames you have left on the roll.

It’s the most empowering camera ever made. If you choose to afford it either by selling all your other gear or winning the lottery. I can’t sell my other gear right now, so I really hope my Pick-Six skills are at their peak. Because I want this camera BADLY. They’re only making 600 so I better start buying lotto tickets.

A note to collectors: please don’t buy this camera and put it on a shelf gathering dust as some kind of investment. If you’re fortunate enough to get one, please use it to make wonderful images and share them with the rest of us.

Brad

Feb 022015
 

Four steps in Milan, with the Leica M-E

by Bruno Taraffo

Hi Steve, hello everybody!

I’m an Italian man 38 years old regularly reading your beautiful site and, about a year ago, I decided to make myself a gift: a brand new Leica M-E!!

M-Eb

That’s what I call “Love at first sight”, since I simply cannot imagine a more sensual object to take pictures…

I’m not the kind of guy walking around with tripod and filters shooting at silky waters; I like real life and I just try to catch its shades with my own gear and sensibility.

I’m a huge fan of italian photographer Gianni Berengo Gardin and, of course, I go mad for black and white. Nevertheless, since I know life is in colors, sometimes I give them the chance to stay in my pictures…

Recently I spent a few days in Milan in good company: my wife, my Leica and a 35 Summicron Asph, and here you have the results…

Milano-3

Milano-6

Milano-12

Milano-25

Milano-53

Milano-81

I really hope you enjoy my shots and, if you have the time, give a look at my Flickr profile as “Bruno Taraffo”

Best regards, Steve!

Bruno

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 302015
 

Not getting the recognition you deserve?

By Brad Husick

Do you shoot with a Leica camera and wish that people would pay homage to you for that expensive purchase? The Leica red dot is supposed to do that, but let’s face it – that dot is just too damn small! In some cases, like the Monochrom or the M9-P there’s no dot at all! What were they thinking??? Why do I use this camera anyway?

Well now there’s a solution. The LBRD. Leica Big Red Dot. Just apply the self-adhesive LBRD to any Leica (or any other camera for that matter) and get the instant recognition you deserve as a photography equipment connoisseur.

Free at your local Leica boutique. I got mine at the Bellevue, WA Leica boutique.

– Brad

big red dot

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