Second and last: The Leica Typology

Let's continue with my, shall we say, profiling of Leica M film bodies.  Since I packaged the M4 along with all its variations together, and finished my last installment with the M5, let's continue from there.

Given that the M5 is the best known secret operative, how could Leica improve on it?  Easily: they just dropped it like the proverbial hot potato, and went back to the drawing board to produce the M6.  This is a jolly camera, a jovial, quick to laughter guy, who enjoys work, rolls up the sleeves and gets down and dirty whenever needed, but then, at the end of the day, will go to a pub, a bar, a tavern, a restaurant or a café, or any place of human companionship, and sing a good set of tunes.  Yes, the M6 is one of those who works hard and plays hard.  Nothing in the world is better for this camera than a good work day, then a shower, and then a nice, long evening nursing a drink (or series thereof), belting out a few drinking songs.  Maybe that's why there are so many different editions of the M6: they knew these cameras wouldn't stay in their boxes.  That's probably the explanation for so very few "mint" or "collector-condition" M6 bodies in the market.  They're all out there, having a good time. 

(©Anthony Owen-James, flickr)

One would imagine that if the M6 is a nice party companion, the M7 would have enhanced party features.

No.

(© Yu Xiong, flickr)

The M7 has no nameplate like the previous Leica bodies.  It says only M7, like a secrent agent code, as if that were enough.  Based on this, the M7 is just… an M7, a letter and a number.  It's a bit joyless, bland, robotic body.  Sure, it works and, of course, produces always perfect exposures.  But then, what does it do afterwards?  What does this camera like?  Which songs are its favorites?  Does it have a preferred place to hang out?

No.

This camera is the typical metro-boulot-dodo.  Up with the sun, out to work, clicketty-click and clicketty-clack… job's done, collect paycheck, let's go, see you tomorrow, head back home, make some quick supper, watch the news and hit the sack… And repeat again the following day.  Why does it convey this image to me?  Is it because of its electronic guts?  Is that because of its apparent perfection in terms of metering, gauging film ISO, opening and closing the shutter at perfectly timed intervals?  Frankly, I don't know, but that's the reason I've stayed away from it.  In fact, I barely touched one.  I know… that's extreme.

Given that the MP resembles the M4 so much, and that I only once had a chance to hold one in my hands, I find it unfair to even try to characterize, but I'll try. 

(© Alessandro Bastianello, flickr)

First of all, I must admit that I fell in love with it.  Oh, what a softness to the tact, what a delight to the senses, what a flawless, precise engineering…  It was like an M6 on steroids (and I had already my M6TTL bodies by then).  Then, at the same time, holding the camera feels as if one had an M4 in hand: a reliable, solid instrument that can also understand the whims of the creative mind.

Here I will end.  I have nothing to add about the digital bodies (and there are too many) mostly because I lost interest on them after the M9 storm with the sensor problems.  Hence, I'll return to posting photographs.  In fact, soon enough I will come back with more results of my stay in Spain with my M2, and from my other sojourn in Paris, during the summer of 2017, with my silver M4. 

Take care and leave a comment with your opinion or information about the Leica digital bodies. Who knows... may be one day they'll deserve a typology too!

One very last note: the photographs used in this post came from flickr, and I have acknowledged their authors.  I should add that I am very grateful that they did not block their work from any third-party use, and that is why they appear in this entry, just as illustration.  Thanks, gentlemen!

Just to break the monotony... A Leica typology!

Of course, all this is in jest.

For some reason, one evening it occurred to me that each of the different models of Leica M camera reveals its own psychology.  There's something in the design and consequent modifications that tells us what each body is all about.   Hence, without further ado, let me begin with the very first Leica M model.

The Leica M3.  We're in front of a stoic, stern laborer.  This camera exudes discipline, speaks about duty and work, does the job, and doesn't suffer fools too well.  Its lines are straight and direct, and even if there's a very slight ornamentation around the frontal viewfinder window and the rangefinder small eye (see those diminutive frames), this camera commands respect, speaks with a firm, loud voice, and either it doesn't get jokes or has no sense of humor.  But boy… can it work?  Non-stop, 24-hours per day, 7 days a week and all-year around.  And if the M3 takes a break it won't be for a beer, no siree… It may be for a nice, cold glass of mineral water mit Kohlensaure (although this camera will keep it a secret that it's very fond of a good cognac). 

Then, the Leica M2.  This one requires a comparison.  Let's say that, if the M3 had a military rank , it would be one with command, like a captain or lieutenant or anything all the way to general.  The M2, however, would be a corporal, perhaps a sargent.  This one can have a moderate amount of authority, but it doesn't exude it like the M3; it simply has it… because someone else has granted it to the camera.  It's an efficient soldier, a productive worker, an active community member, a fast runner, somebody effective and useful, but nothing that radiates leadership or command.  It's still serious, but, unlike its predecessor, may kick back ocassionally and have a beer… ready to stand on attention.

Let's move onto the Leica M4 and allow ourselves to wonder… What were the Leitz people thinking?  That silly little rewind crank… Why tilt it?  It simply shows irresponsibility, flirtiness, light-headedness, some very irrational and unjustified joie-de-vivre that doesn't belong in a Leitz product.  But let's reconsider… how bad can that little crank be, even tilted?   Horrific!  It looks like a slanted beret.  Heck, it looks terribly… gallic!!  There it is!  Granted, its lines are clean, pure and straight, it has more framelines that both its predecessors, it's easier to load with film, but then, it has… such a shallow attitude.  It's the camera that says "let's go places and have a ball!"  And, indeed, once in place, it'll grab anything ethylic and get itself pretty happy.  Not thoroughly drunk, mind you, but joyfully sloshed nonetheless, but never (and let's not forget this) compromising the high standards of function and design behind it.  In short, this camera is a tool and a pal.

The liveliness of the Leica M4 (and its followers, the M4-2 and the M4-P) offers a stark contrast with the next in the line-up: the Leica M5.  This camera has all the Leicas wanted to have: its own sense of style, a slick layout, a unique design, flawless performance, and a particular brand of seriousness that also suggest some kind of mischiveous streak.  In short, this camera is… James Bond!  Serious at first, very clever, quite surprising, full of tricks, it has the proverbial stern looks of the perfect instrument, but nicely combined with an idea of enjoyment, of some discreet and wholesome fun… not without pushing the limits whenever possible.  Here's a camera to have next to a nice mixed drink, or cocktail.  Not a silly, pink- or fruity-colored drink, but rather something elegant and classy, like a Martini or an Old-Fashioned. And the Leica M5 will be unobtrusive and quiet, sipping its drink modestly and silently.  Think George Clooney here… and that'll give you an idea.

Enough for now... we'll come back soon with our characterization of the rest of the film M-bodies. In case you feel like, leave a note in the comments (whether you agree, for instance, or want to add to this profiling of the Leica Ms). 

BTW, the M3 photograph's is Ken Rockwell's, the second—Leica M2—came from Vidarphoto from Flickr. The M4 belongs to La Vida Leica and the M5's is my own.

So long!

Cartagena in 2010 with a Leica M5

Back in 2010 I went to Cartagena, Colombia, to a conference, and brought back some six rolls of film with a number of images. Here are some of them...

At nights, life doesn't stop, and people get hungry and buy food from street vendors like this lady.

If I remember correctly, this spot is called Plaza Bolívar, and it's one of the many in which dancers of African music gather to display their skills. 

Another view of Plaza Bolívar.

During the day, right after the rain, the streets show a particular brightness... and the air is still as humid as a thick, damp towel.

The Plaza del Reloj is the gathering point for candy makers, some of whose production is weird but delicious and hard to describe. 

My Leica M5 performed great under the circumstances (hot and humid environment). I had a Nokton 35mm f1.4 lens, which together with Arista/Agfa ISO 400 worked wonders in low light.  However, it wasn't skimpy with details.  Look here...

I still have evidence of what this camera and film combination can do under the conditions I was (high temperatures and humidity). Considering the sudden changes it was subjected to every time we returned to our hotel or went to a restaurant (high air conditioned areas), this 1971 body turned to be resilient and tough... and still turned nice exposures. Right now, a few years later, I am concerned about its meter, but otherwise, the camera is still going strong.
 
Soon enough we'll see some more samples of Cartagena, and perhaps more from Toledo.  Let's see what happens first.  In the meantime, I must go back to work, but the photographic-gear stories never end! 

In the heart of darkness

I have a problem: I'm bad at puns.

So, what else to choose as the title of this post on night photography but a bad allusion?

Here you go. All these images were made with my black M5 and a Nokton 35mm f1.4 wide open. The B&W set belongs to Chicago, IL, and they were shot in Scala film rated at ISO 200. Not too bad...

The color ones come from Cartagena, Colombia, a beautiful city in the Colombian Caribbean coast, that preserved its colonial architecture and has been a Mecca for South American tourists for some time.

Let's begin with Chicago...

This is from the corner of Washington and Lasalle Streets, just like the one below.

From a purely technical point of view... nothing particular. However, I like the taxi turning here because it seems to add a certain "urban grit" to it.

Patrons at the Lyric Opera in Chicago.

Now, for the "grand finale," Cartagena. BTW, these photographs were made with Fuji C-41 film ISO 200.

Art fair, or art market near Plaza Bolívar.

Street vendor of a particular delicacy called "arepa." I bought one from another vendor and ate it shortly before taking this photograph. This is a block away from the Santa Teresa convent (now hotel).

Young bicyclists running about at past 8 PM.

Now, for the nitty gritty... I sent the Scala film to David Wood at dr5, which seems to be the last place on earth to get Scala developed. This was one of my last rolls... I am truly sorry about it.

Regarding the C-41 stuff, I sent it to Snapfish, a lab currently owned by HP. It's a pity they won't work on chromogenic film, because their color work (and digital prints) are quite satisfactory. And the prices too! BTW, this is not a sales pitch, but an explanation only. Those interested in getting Scala film developed or print film nicely processed should try their luck with these places. In the meanwhile, since Snapfish won't work on Ilford XP2 or Kodak BW400CN, I'm stuck with other places (locally, alas!). However, when it comes to real B&W, I'll soon return to working on my own.

So long and thanks for making it this far!

Metering

Can be a pain... But I've been lucky with it. Here are some samples of relatively "hard" metering.

As the rule goes, with E-6 film, meter on the highlights. With B&W film, meter on the shadows and with color negative film, in the areas in between. Is it really true? The photograph above (a good friend of ours staying at home) was metered on her face... Not the brightest spot in the frame, neither is it the darkest. With very little PP, I think this is a printable copy.

Metering this scene was tricky. I must admit that I didn't think about it at the moment (after all, it's a snowy scene). However, in cases like this, the sky is my criteria.

Now, for the last one, I chose to meter on the visible ceiling. So, I aimed my Sekonic L-208 at the area in question and used that as my measure.

From these experiences, I came to realize that the mantra above is not entirely the best. It's a useful criteria, but when push comes to shove, that is, you're there with your camera and meter in hand, the best thing to do is try to meter for the subject, or the subject area of interest in the frame.

Sure, I had done this in the past, not as often as I'd like, but it only became very obvious when I got my Leica M5 bodies. With these cameras, given their metering design, you are far better off metering on your subject than on anything else. Even the manual says so!

Good that we can apply the same principle of a lot of our work.

Coming soon... using the Leica M5.

Camera porn!!

For lack of anything better... some camera porn!

Around May 2010, I was very curious about the Nikon RF system... so much I went and leaped at the chance of getting a "kit." Here it is: Nikon S2 with a 50mm f1.4 lens. It came with a front cap, hood and a leather case in need or some help (especially the strap). I've used it despite the fact that the rangefinder is not aligned and the horizontal lines do not align. Apparently, it is something as easy as any given DIY trick... but I'm not too mechanically inclined, so it must go to Peter Smith in FL.

Here is our best friend, the Leica M4-2 freshly arrived from service at DAG. Despite the fact that I now have one more fast 35mm lens, the Konica is destined to stay on this body. Not long ago I had a couple of rolls of Provia ISO 400 processed and have not scanned any image thereof... But I must do it soon! I really think this combination is next to perfect, at least for my hands. The smaller Leica Summicron 35mm or even the Summilux would look nice on it, but it would be a pain to use. With the Hexanon there simply are no fumbling moments. This lens design is most natural and comfortable... at least in my hands.

Above, the current "queen" of the roost (that is, the latest acquisition): a Leica M5 in black. It's now outfitted with a Cosina Voigtländer 35mm f1.4 Nokton Classic SC lens, of which I still haven't too many photographs. The viewfinder in this camera is huge. The framelines for the 35mm lens occupy most of it, which makes it an ideal camera for this focal length. Also, the meter is quite proficient and sensitive.


Above, a view of the M5 with an Elmarit 28mm f2.8. The soft-release button visible on the camera had to be removed; somehow, the threads got ruined. I went and bought one (the legitimate one) from Tom... but then had problems with the shutter release button getting suddenly stuck on its way down. This camera has a long-way shutter release, not as sensitive as, say, my M4-2's or my M3's. Unless I ship it back to Sherry or send it to Don, I'll have to learn to live with it...

So, that's all, folks! Back soon with some photographs taken with the M5, from the Sycamore Pumpkin Fest and some Chicago street shots (namely, Kristkindle's Market in Daley Plaza). Until then, happy shooting!

The Obsessive Cycle

I started this blog as the result of an obsession of sorts... my anxiety about receiving my very first Leica M4-2. I never thought it would lead to any other type of obsession... But it did.

Now, in this very moment, I'm jonesing for a Leica M5 recently purchased on eBay. Wanna see?

Yes, the lens was borrowed from my M4-2, because after looking through the viewfinder I sensed that the best field of view for it is that of the 35mm.

I ended up with this camera on a lark. There was an auction on eBay, I felt like gambling (do it sometimes too often, not always win) and bid. To my surprise, I got the camera, even though I have never been to excited about the M5. Problem? I ended up liking it... A lot... More than expected.

Since the meter was all wonky, I had to send it to Sherry Kräuter's shop, "The Golden Touch," to get it revived (there may be more issues with it, and in any case, she has a reputation as a Leica M5 devotee). Then, I started salivating about another 35mm (I won't leave my M4-2 with a 50mm lens on... it's just against my religion, even though I have a nice Canon 50mm f1.2 in my inventory). I ended up falling for a Voigtländer Nokton 35mm f1.4 used, which I got not for a song, but still for a decent price (used but not much).

Wanna see what this camera did with a wonky meter?

This is Ben, our older, gentler cat, on a chair of our porche. I used the camera meter for this one, knowing fully well it was overexposing. All in all, Ben was correctly exposed, doing what he does best: rest.

With family at the office (hers, actually). At this point, I chose to "guesspose" and set the camera and lens at 1/60th, f2.8.

The silly thing now is that I simply cannot wait for the camera to return. I've been trying to get myself busy in different ways and forms so as not to THINK about the camera (or the lens, which will be shipped from Canada tomorrow, Wednesday October 6, 2010). In fact, the camera will not come before Sherry contacts me, and that tends to be over the phone. She'll give me the estimate cost of her repair, I'll have to accept it, and then, it may be a wait of three days or three weeks, depending on the work needed.

What a funk... but I got into it all alone by myself. Fortunately, I still have toys to play with! Keep you posted!