Erwin Puts' essay on the new Leica M7 (long)

The new Leica M7: one step closer to perfection.

<p>

By Erwin Puts

<p>

Introduction.

The introduction of a new Leica camera is always preceded by a longer

period

of gossip and speculations. The mythical electronic Leica is a subject

of

discussion since 1996 and many expected the new M camera at Photokina

2000.

'Insiders' predicted that the new M7 would be the Konica Hexar RF with a

red

dot. To shed official light on this topic: The Konica people have

proposed

to Leica to market the Hexar as a joint effort. But Leica refused as

they

assumed that the Hexar did not fit into the Leica philosophy of

photography.

Others 'knew' about the R&D activities, investigating a faster version

of

the shutter with a higher synch-speed. But wishful thinking should be

separated from the normal lab research. From the original Leicaflex on,

research into improved shutter designs are part of the culture of the

engineers, as is research into all kinds of improvements and new

products.

Now in spring 2002 the M7 is real. The camera does not fulfill all

characteristics that were part of the wish list, except for the aperture

<p>

priority automatic exposure. I am happy that Leica did not listen to all

<p>

suggestions and followed their own ideas and philosophy.

<p>

Product changes: careful evolution.

A new Leica model with radically different functionality is relatively

scarce. The M3 from 1954 was a very different camera from its

predecessors,

the IIIf (1950) being the comparison. The M2 and M4 offer hardly any

substantial improvements and we have to wait for 1971 with the M5 to

witness

Leica making a big effort to jump out of the self imposed limits. That

is 17 years after the M3!

The M5 did not become the success the Leitz people had

hoped for. The automatic exposure metering with manual selection of

either

shutter speed or aperture was very accurate and the semi-spot metering

with

the 8mm sensor was quite nice and functional. The size and shape of the

<p>

body gave the camera a somewhat chunky look. Leitz assumed that the

users

of the M5 would be mostly interested in the enhanced functionality, as

the

innovative two lug carrying strap indicated. The classical engineering

rule

that form follows function was put into practice. The failure of this

camera

to innovate the rangefinder scene still resounds in the halls of Solms.

The next models, M4-2, M4P and even M6 did not add much to the progress

of

the rangefinder camera. The M6 offered the same functionality as the M5

did,

but with a different implementation. And incorporated into the same now

classical body contours. From a broader perspective, the M6 did not

improve

substantially on the M5. The M6TTL is the first model to add new

features

and it is significant that the body size had to be increased by a height

of

2mm to incorporate the new functions.

The M7 from 2002 is again a substantial change in the line as was the M3

in

1954 and the M5 in 1971. But now we are 31 years later since the

introduction of the M5.

<p>

M3, M5 and M7: three models in a 48 year period.

The M3 is composed of about 860 parts, counting every screw and washer.

The

M7 has 1300 parts, and again every electronic component has been counted

as

a separate part. 350 of these parts are new and/or improved parts when

comparing to the M6TTL. Two hundred of those parts are electronic and

150

are mechanical.

The manufacture: tradition and modernity meet.

I happened to be in the Portugal factory when the first new M7's

started to be manufactured.

This camera is an astonishingly clever mix of old and new

production technology. In the Portugal factory you will find the

original

equipment, made in 1953 by Leitz for the production of M3 parts. These

machines have the classical green color of most mechanical drilling and

milling machinery, all moving parts are thick with grease, and the smell

of

cooling liquid and oil is impregnating your clothes. Even the sewing

machine

that has been used for over 70 years to stick the silk threads on the

shutter curtains, is working continuously, operated by extremely skilled

<p>

hands of a young woman.

The engineers know that these old machines cannot be improved upon as

they

have been designed with only one dedicated single purpose. Precision and

<p>

functionality have been optimized as this equipment has been designed

for

the manufacture of one single part, and to do it with utmost accuracy.

So

there is a large amount of components in the M7 (and the M6TTL and M6)

that

are identical and identically manufactured to the M3 days.

Intermingled with the dull green machines, you see modern bright red and

<p>

white CNC machines. These Computer Numerically Controlled machines are

very

flexible and can be programmed to execute very complex movements and

intricate processes. Again the accuracy will be measured in less than

one

hundredth of a millimeter. Be careful here. It is relatively easy for a

<p>

skilled worker and the right equipment to manufacture individual parts

to a thousandth of a millimeter. But only if every part is individually

and

manually finished on machines with even tighter tolerances. To transfer

this

level of accuracy to a process of series production is impossible. In

any

larger scale production you are hard pressed to stay within 0,01mm all

the

time and within statistical error margins.

The body of the M-camera has about 80 holes that need to be drilled into

the

diecast chassis. In the past any machine could only drill a few holes

and

then the body had to be refitted to another machine for the next series

of

holes. This is error prone as the worker would not be able to fix the

body

at the exact position of the previous operation. Nowadays the CNC

machine

can accomplish all actions on one body without any refitting. The result

is

a higher precision of the location of the holes.

This same mix of tradition and modernity we meet in the M7.

<p>

The aperture priority automatic exposure.

The electronic shutters, used in the Hexar RF and the G2, consist of a

compact integrated unit that combines the vertically running metal blade

<p>

shutter with an electrical filmtransportmotor. To ensure that no

unwanted

light reaches the film, the shutter needs to be cocked immediately after

the

shutter-release. It might be possible to incorporate this mechanism into

the

current M-body size, but the interior of the camera has to be regrouped

substantially. Most important however is the fact that the M would loose

its

very heart and soul: the silent, slow moving, vibration free

horizontally

running cloth shutter.

Therefore the decision in Solms has been an 'easy' one: keep the current

<p>

mechanism and govern the shutter speeds by electromagnets and a new

chip.

Presumably the engineers had no idea how difficult this simple decision

would be in the real world of engineering mechanics and electronics. The

M7

was targeted for Photokina 2000, but marketing wishes have no precedence

<p>

over sound engineering requirements.

The mechanical version of the shutter (since M3 till M6TTL) is of the

constant speed, variable slot-width type. The two shutter blinds run

separately and the time interval is determined by the shutter speed dial

<p>

setting. When we depress the button, the first blind is released and

runs

across the film gate. The second blind is held in position by a

connecting

pin, better described as a holding catch. The timing of the release of

the

second curtain is controlled by a very intricate collection of cams,

levers

and sears. The main roller that tensions the springs also holds the

speed

adjustment mechanism. This roller rotates over almost a full turn and

this

movement is used to allow a curved speed cam a certain time period to

release the catch of the second curtain. The time to transverse the film

<p>

gate varies from 18-22 milliseconds. The target speed is 20.8

milliseconds.

That translates into 1/48 sec. and this is with some safeguarding the

1/50

sec for the flash synchronisation. The speed of the shutter curtains

then

is 2 meter/second or 72 km/hour. This speed must be forced to zero and

compares to the force of a car crashing into a wall with 70km/hour.

That

is some force and that is why Leica employs two brakes, each for every

curtain. The dilemma is clear: higher speeds means more braking force

and

more noise and more tear and wear. But there is even more to consider:

the

complete assembly of the shutter mechanism with all its springs, levers,

<p>

gears, wheels, shafts and spindles has over forty different points

(areas)

of friction that together regulate the accuracy and regularity and speed

of

the curtain movement. The higher the speed, the more difficult it

becomes to guarantee the evenness of travel.

Tests made by the factory indicated that

1/2000 might be possible but not within the required very tight

tolerances

for accuracy and evenness of travel and the demand for low noise and

absence of vibration. The Leicaflex has also a mechanical shutter and

can

handle 1/2000. The explanation is a different shutter mechanism with

several

small shutter drums where the M shutter has one big one.

So the M7 has the same topspeed as most Leica RF models since 1935.

<p>

We should not overvalue the need for faster shutter speeds. While there

certainly is sometimes the need for speeds faster than 1/1000, we

should

note that with ISO100 film and a blazing sun, we need 1/1000 and f/5.6

for

a correct exposure. That will do for most situations and subjects. If

you

wish to use a narrow depth of field that you get when using f/2.8 or

f/2.0,

even 1/4000 will not be of much help.

<p>

Electromagnets and an additional ball bearing!

The electronically governed shutter in the M7 is thus identical to the

one

in the M6 (or M3). Same design, same mechanical components. The speed

adjustment mechanism with the gears, cams and levers has been replaced

by an electromagnet, one for every curtain, that regulates the timing of

the

release of the curtain. What is lacking is the gear train and the noise

of

the gears that retard the second curtain during the slow speeds. Where

you

can hear the soft purring sound of smoothly engaging cogs when using the

<p>

slow speeds on an M6TTL, with the M7 you do hear silence. Just twice a

soft

clicking sound of the braking action of both curtains, the second one

being

a bit louder. At higher speeds, the sound is very close in character

between

the electronical and mechanical versions.

The electronics make the shutter battery dependent. The drain on the

batteries (now two batteries in the compartment) is very modest, but is

still advisable to have a reserve pair in your bag. The fear that the

batteries and electronics do not cope with severe climatic conditions is

not

supported: even in extreme cold the M7 shutter operates without any

failure

and is even more accurate than the mechanical one. The speed dial can be

<p>

moved with one finger and speeds can be set from 4 seconds to 1/1000 and

B

in every direction. All speeds are electronically governed, with the

exception of the 1/60 and the 125 that are mechanical. The choice for

these

speeds is logical: these speeds can be used handheld with confidence and

are

slow enough for many lower light situations, indoors and outdoors.

<p>

This is how it works: In AUTO mode all speeds from 32 seconds to

1/1000),

including the 1/60 and 1/125 are governed electronically and half steps

can

be selected. In manual mode (with batteries), the 1/60 and 1/125 are

governed mechanically, all other speeds are governed electronically. All

<p>

speeds can be selected from 4 seconds to 1/1000. No half steps can be

selected.

In batteryless mode only the two mechanical speeds 1/60 and 1/125 can be

used.

<p>

Sometimes you can read the statement that in the mechanical M-models

(from

M3 to M6TTL) the shutter can be set at intermediate positions and give

accurate speed settings. This is not true. You can set intermediate

positions between the official speeds, but the accuracy of the shutter

is

not guaranteed. In fact it is quite unreliable and cannot be

recommended. In the manual method, the finder shows the familiar diodes

and

symbols of the M6TTL exposure metering.

<p>

In the AUTO position the speeds are set stepless by the exposure meter

to

accurately match the measured lightlevel. Full speed and half speeds are

<p>

indicated in the finder (in the center of the lower part of the finder

where

the TTL diodes reside). The selected speeds are stepless, but one

should

not take that to literally. It is not the case that every possible speed

<p>

setting (1/33, 1/32, 1/31) can be selected, but rather there is a range

of

very small steps built into the chip. So 1/30, 1/35 and 1/40 may be

possible

but not the times within these: 1/31 will be set as 1/30. This level of

accuracy will satisfy even the most critical user and film emulsion.

Calibration of the shutter is done thus: The highest speed (1/1000) is

adjusted, regulated and fixed by the mechanic during assembly. All other

<p>

speeds are automatically correct as they are governed by the small steps

as

set in the Eprom. This level of accuracy needed the one big change in

the

shutter: the main roller now is supported by a rollerbearing. From M3

till

M6TTL the bearing was a plain bearing. The new geometry of forces

necessitates this change.

<p>

The measurement of the shutter speeds.

It makes no sense to measure speeds when the camera has just left the

factory. You then get an idea of the quality control. What is important

is

the accuracy and longevity of the shutter under stress. And as

important as

the speed itself is the constancy of the speed of the traversing slit. I

<p>

measured two heavily used cameras. My own M6 (one full year of use since

<p>

last adjustment) and an M7 (same use). Both had excellent constancy of

travel.

The results are in the table below:

<p>

Departure from nominal speed (+ = slower)

Speed M6 M7

1000 +30 +10

500 +5 +5

250 +5 +1

125 +14 0

60 -4 +5

30 +10 0

15 0 0

8 0 0

4 +5 0

2 +7 0

1 +10 0

2 - 0

4 - 0

<p>

The results for the M7 are very very good, but the M6 is certainly not

much

behind. Differences of 5% to 10% are irrelevant, even in scientific

picture taking conditions and even 30% (for the highest speed) is within

the

tolerance of even the most critical slide film. But such a difference

might

be just visible. For very critical black and white photography the

results

are very satisfactory. The M7 shutter has as advantages the lower noise,

<p>

dead-on accuracy and the facility of automatic exposure control. The

dependence on batteries may be for some photographers a culture shock.

The

mechanical shutter of the M6TTL delivers outstanding performance, that

is

now after decades of tuning and honing at its peak.

<p>

The practice of working with the automatic exposure control.

In the manual position the M7 is identical in operation to the M6TTL

version. But remember that the times are electronically controlled. The

essential change occurs when you select AUTO on the dial. Picture

taking

becomes more spontaneous and even more relaxed. Once not being detracted

by

the need to adjust or even set correct exposure. You start to

photograph on

intuition and emotional response with the subject. Now you can

concentrate

fully on selection and framing of subject and give all attention to

focusing. The primary choice of aperture is essential, as this regulates

<p>

depth of field, selective focus and image quality. The choice of speed

is a

derivative act and as this is taken away from you by the electronics,

you

are relieved from that 'burden'. During my use of the M7 I noted that

many

pictures were focused more precisely and accurately. And in border

situations the exposure was improved too! Specifically in situations

with

constantly changing light levels (street scenes with sun and clouds,

shows,

circus scenes) and scenes with severe lighting contrasts (dark spots one

<p>

moment, contre-jour the next moment), where the quick selection of

subjects

in differing conditions is needed, the AE is a gift from heaven

(actuallly

from Solms).

I am convinced that this topic touches the heart of the matter: with the

M7

you can fully concentrate on the subject and only select the focus

plane.

This is a very relaxed way of picture taking, still being in control of

all

important decisions and trusting the electronics where appropriate. The

M7

should be close to Barnack's vision: spontaneous and carefree

photography

with a sensitive eye and emotional involvement. The photographer

controls

the important aspects and makes the decision. The camera follows and

supports.

The M7 is a true Leica: the clear and large finder, fast and accurate

focusing, the smooth and direct action trigger and the civilized

clicking of the shutter: all is there.

Time lag.

Leica did a good job here: the response times of the electronics are

very

fast. The time parallax between pressure of the shutter release button

and

firing the shutter is 12 milliseconds (12 -18 ms with the M6). Compare

this

with the Konica Hexar RF (100 ms) and the typical single reflex camera

(above 125 ms) and the current best digital cameras (400 to 1500

milliseconds) and you will understand that Leica designers know their

job

and are very dedicated to support the M-style of photography. The

decisive

moment is still the area of choice for the M7.

The travel of the release button is identical to that of previous

models.

There is some tolerance here. Travel distance varies from 1.9 to 2.1 mm.

<p>

So it might be possible to have an M7 with a slightly shorter stroke

than

an M6TTL. The M7 I used had a 0.1mm longer travel than the M6. But this

is

not structural, just within the tolerance band. The AE lock is very easy

to

use and convenient. The camera, in AUTO mode, measures the light

continually. So if you move the camera over an area , you will see the

speed

indication in the finder changing all the time. Point or hold the camera

to

that part of the subject that is representative of the illumination you

want

to have metered, and lightly depress the release button. The meter

stops

measuring and you see a small point between the indicated speed digits.

(With 1/1000, you see 1°000; with speeds from 1/750 to 1/125, it is x°xx

<p>

and with the rest it is � xx). Hold this, recompose and press the

button. If you do it fast, you will see the AE indicator dot flashing

for a moment.

The functioning of the exposure meter.

The M7 now has a on-off switch as a collar around the release button. No

<p>

longer can and will you trigger the shutter when the camera is put into

or

pulled out of the camera bag. Switch the camera on and for the first two

<p>

seconds the warming up cycle starts and the selected ISO speed is shown

in

the finder. After that period the camera measures continuously the

light

level. The camera is immediately ready for exposure when you fire the

shutter with a preset aperture or after selecting an aperture before

making

the picture. These measurements take very little current. Again we see

the

care of the designers to provide the same speed of action and user

support

as in previous models: The selected speed is indicated in the finder

(where

normally the diodes are displayed) with full and half speeds (as

example:

30, 24, 15). The numbers are red and consist of a group of 33 LED

segments

(as in your calculator) on an area of 0.7 by 2.3 mm. The enlargement in

the

finder is 15 times, and the brightness of the LED is variable according

to

the ambient light level. Fitting in this array in the confined space of

the

M finder is a major feat for the Leica engineers.

Exposure metering itself is not changed: it is still the familiar and

proven

method of measuring the light reflected from the whitish spot with a

diameter of 12.1 mm on the shutter curtain. The corresponding area on

the

film plane is always a circle with a radius of 6mm (image height). The

measuring spot is often described as (semi) spotmeter. It is however

best

described as a center-weighted integral metering pattern. Results do

indicate that the meter response is close to this time honored method

and

the M7 is even a bit more accurate.

New in the M7 is the automatic DX coding, and now you cannot forget to

adjust the film speed dial when changing film. The dial now doubles as a

<p>

manual film speed setting and an override from +/- 2 stops in steps of

0.3.

The great leap forward is the automatic exposure control in the M7. Not

a

big step in itself actually. Most cameras have this facility since many

years.

The Leica user however wants to stay in the style and feel and results

of

the classical M-photography and this often clashes with automation

services. The M7 is 100% pure Leica M with AE that fits seamlessly into

the

classical M-style. Take pictures with an M6 and then switch to Konica

Hexar

RF or Contax G2. You will have a long period of adjustment and a steep

learning curve to change your way of picture taking. The switch from an

M6

to the M7 is without any threshold.

I used both cameras at the same time and could not notice any difference

in

style or approach.

With one exception: the added freedom that the AE gives you by taking

care

of exposure, allows for such spontaneous, intuitive and intimate picture

<p>

taking the M-photography one step closer to perfection.

<p>

Slower speeds.

In B-position the time period is counted upwards (from 1 second to as

high

as you like) and indicated in the finder. This is very useful and now

there

is no need to look for some light to illuminate your watch dial. In

automatic position the meter can set speeds till 32 seconds. These

speeds

are indicated in the finder too, but now counting downwards. The

sensitivity

is the same as with current TTL models (EV -2 at ISO100). The M5 had a

sensitivity threshold of EV1.

<p>

Flash synchronization and TTL.

In order to use the TTL measurement, the shutter speed of the M7 must

be

set to 1/50. With this speed the TTL functions correctly with

dedicated

flashguns (SCA-3501/3502) and SF20.

With the new Metz 54 MZ3 a High Speed Synchronization can be used. The

HSS

function operates only with the combination MZ and M7 and now the faster

<p>

speeds from 1/250 to 1/1000 can be selected too. The MZ3 works in

manual

mode only (not in Auto) and as the speeds of 1/60 and 1/125 are

mechanically

operated when using the speed dial (manual mode), the flash cannot be

activated by these speeds. You can choose between synchronization on the

<p>

first or second curtain. With the MZ 54 we can at last use fill-in flash

on

location with higher speeds and wider apertures. For many this function

<p>

will be of great value. Others will see it as unimportant as the

M-domain is

the available light photography. This however is too narrow a

perspective.

Luckily any photographer now has he choice to use the M as is required.

The

automatic TTL function is not supported with the 54MZ3 (only with the

1/50

or slower). At the HSSspeeds the user has to set it manually and this is

<p>

quite easy and fast.

No the HSS is not usable with mechanical-shutter Leica's. The flash

expects

to receive specific electronic signals for proper functioning and the

mechanical shutters do not have this signal.

<p>

The finder.

The finder itself is not changed and all three versions (magnifications

0.58, 0.72, 0.85) will be available. The shutter indications have

variable

brightness dependent on ambient light levels and are very clear but also

<p>

very civilized: they do not distract as they are positioned normally

just

outside the visual area of the user. The accuracy of the finder is very

high

and till 90mm not challenged by the reflex camera. I would note that

even

the 135mm can be focussed more accurately as the M-rangefinder uses the

principle of visual acuity that is more accurate than the contrast based

<p>

principle of the groundglass focusing.

Everything can always be improved. The finder windows have an

anti-reflection coating that diminishes clearly the flare of the

rangefinder

patch that occurs in some situations when strong light sources are

shining

obliquely into the finder.

<p>

The mechanical parts.

The shutter has been improved and changed substantially. In addition the

top

cover is now machined out of one piece of brass. The slow speed

geartrain is

gone, but electronics have been added. The total weight has been

increased

to 610 grams (10 grams more than the M6TTL) and the Leica R6.2 has a

weight

of 625 grams. The weight of the M7 adds to the stability when using

slow

speeds and is also an indication of the solidity of the engineering and

the

ample use of steel and glass. M3 cameras from 1954 are still functioning

<p>

perfectly after more than 50 years of use. They have a working life of

at

least 50 years and with some care will function for the next 50 years

too.

The M7 would be able to function till 2102 at least. That would cover

three

generations of photographers. The shutter is designed for 100.000

pictures

before showing any sign of wear! You can shoot 2700 rolls of film before

you

could detect any tear or wear in the moving parts.

There is additional room in the body to accomodate two batteries and not

the

one battery in the M6(TTL). Both batteries are above each other.

The Leica camera has a well-deserved reputation for longevity,

engineering

excellence and reliability. That does not imply that a new camera can

never

malfunction or even has some manufacturing defects. Sometimes the

occurrence

of these faults has been used to support the view that the current

products

from Solms and Portugal are not as reliable or manufactured to the same

<p>

high standards as when the M3 was made in Wetzlar.

Based on a study of the production methods, material selection and

material

treatment, the assembly and quality control in Portugal and Solms you

are

entitled to a very high level of expectation about engineering quality.

On the other hand we should realize that the camera is mainly manually

assembled by highly motivated individuals, but where humans work, humans

<p>

will inevitably make mistakes, however tight the inspections and quality

<p>

assurance.

<p>

The rangefinder landscape.

What is the position of the M7 in the rangefinder landscape compared to

Hexar RF, Contax G2, Bessa-family and the M6TTL?

The M6TTL is almost identical to the M7, but without AE, the improved

shutter and the coating of the finder windows. But the M6TTL has the

fully

mechanical, battery-independent shutter and a lower list price.

The Hexar RF lacks the TTL function, has the integrated motor/shutter

assembly with a topspeed of 1/4000, and a very fine finder, but with a

very

detracting array of lights and symbols in the finder area. The RF has a

very

significant time lag too. The linup of lenses is small, but very good

and

the new 21-35 Solms with two fixed positions is quite interesting.

The motor has the additional role of compensating for the time lag,

which

is not the best way for the decisive moment style of photography. The

Hexar

is a most interesting camera, that tries to be a bridge between

classical

and more casual styles of photography.

The Contax G2 has aspirations that are quite close to the ones of the

Hexar

(same shutter assembly, same type of body), but use Af as the bridging

function Here we find a Solms from 35 to 70mm that can be set at all

positions. The finder of the G2 is the worst part, as is the manual

focus.

The AF however compensates for the finder.

The Bessa R and R2 are made from a mix of an slr chassis and the CL-type

<p>

finder. The chassis offers exposure metering, set manually as with the

M6(TTL). The CL finder is limited in its functionality and accuracy.

While

the specs are impressive, when related to price, the assembly of two

separate philosophies is not convincing. The Bessa, while delivering

the

goods for a surprisingly low price, lacks character.

<p>

To sum up.

The M7 is an important mark in the history of the Leica. The

integration

of electronic exposure automation in the classical body shape, gives the

<p>

experienced Leica user a smooth migration path and transition to even

better

photography. You need to give yourself the mental space to reflect on

Barnack's ideal of a fast, effortless, intuitive and compact high

quality camera.

When you get used to the M7 will forget about the manual exposure.

Photography with the M7 is a joy and a very pleasant and relaxed way of

picture taking. I noticed that I started to make more pictures than

with

my M6, especially in conditions where you have trouble to react to

quickly

changing light levels. Often you do not take the picture of a fleeting

moment as the correct exposure takes some time and then the moment is

gone already.

With the exposure automation, TTL function, the HSS add-on and the

classical

feeling and use of the M6, the M7 covers a very broad spectrum of

photographic possibilities.

<p>

The illustrious predecessors of the M7.

The Leica 0-series.

Leica is the only manufacturer, that sells the first product from 1924

in

almost identical shape and specifications. As if Ford would still have

the

T-Ford in the catalogues. Who wants to know what is was like to take

pictures with the original Leica and to taste how people were involved

with

photography 75 years ago, can buy/use the current 0-series. Here we

have

the Barnack-camera, as the master-designer has created it. A very

compact

camera with a minimum number of features and functions, and an extremely

<p>

high level of mechanical precision. Next to the 0-series, the M7 looks

big,

but shares the same feeling. Inside the camera, there is hardly

anything.

A shutter with two non-capping curtains, a transport drum, a release

button

and shaft, and a rewind mechanism. The Leica was designed for fast and

quick

picture taking and the transport knob is incredibly smooth and without

resistance. If you ever want to feel high precision engineering at its

best, try to advance the film in the 0-series.

The practical use.

The Leica 0, lens and finder closed fits into a pocket of the then

ubiquitous jacket or coat. With a weight of 465 grams (lens included),

and a feline shape and feeling, (every part and shape of the camera is

smooth and

rounded), handling the camera is a joy. To take a picture you pull out

the

lens, and open the two part finder (a fold down window with a negative

lens

and a folding peep-sight). The shutter is tensioned with the rubber cap

in

front of the lens (to prevent light reaching the film). Shutter speeds

are

from 1/20 to 1/500 and can be set only when the shutter is in a certain

position, indicated by an index mark on the speed dial. It is best to

set

the shutter before making the picture and tensioning the shutter. You

look

through the finder with the camera held at a distance of 25 cm from your

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eyes. This was a familiar act in those days. Most cameras were operated

away

from the face. The later development that the camera becomes an

extension of the eye is a true revolution in camera design. Most digital

cameras are also

used from a distance to look at the display.

This is the routine: open finder and pull out lens, guess exposure and

distance, take away lens cap, hold camera at 25cm distance, select and

frame

subject, press release button, put lens cap in front of the lens,

transport

film and tension the shutter.

With some experience it works faster than can be described.

Essential difference with the M7 is the pure and dedicated attention to

the

core business of the photographic process. Guessing the distance and

exposure, the deliberate decision of the aperture/speed combination that

is

needed in this situation and the careful framing of subject and timing

of

the picture in anticipation (no second chance) are required to complete

the

photographic act. We do it intuitive now, but then it was a conscious

act.

Being involved with the process in such a way is back to the roots and

it

gives additional meaning to Cartier-Bresson decisive moment. The

excitement

and expectations that people must have experienced when making those

valuable pictures returns. The magic of photography as the art of fixing

the

shadows returns in the blood.

Photography with the Leica 0 is like being in a monastery for

contemplation

and to reflect on your inner self.

Photography started as a mechanical process to reproduce accurately the

world around us. With the 0-series you know why that was exciting and

rewarding.

The Leitz Anastigmat 1:3.5/50mm is a new design that in its capabilities

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challenges the Summicron-M 1:2/50mm. It is, like the predecessor, a 4

element lens, but now the aperture is symmetrically located between the

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second and third lens(group).

With aperture 6.3 you have some latitude in guessing the distance as at

3 meter you have depth of field from 2.43m to 3.94 meter. Guessing the

exposure is made easy as there are only 5 speeds to choose from (1/20,

1/50,

1/100, 1/200, 1/500). There are 5 exposure types from clear sun to dark

and

clouded and you need to memorize the shutter and aperture settings for

each

of them. The Leica photographer had to stop taking pictures when the

light

is down to aperture 3.5 and speed 1/20. Here too starts the really

difficult

guesswork for the exposure. Leica photography is the catching of

fleeting

moments from strange perspectives with a handheld camera, crossing the

dividing line between documentary and surrealistic photography. That is

true

Leica photography and the 0-series started it all.

The M3.

Thirty years after the 0-series, the M3 arrived on the scene (1954). A

true

revolution it was. A radical departure from the then reigning

III-series:

crystal clear 1:1 finder with frame lines from 50 to 135mm, finder and

rangefinder combined, bayonet coupling for lenses, advance lever, it

took

the world by storm. This masterly design by Herr Stein is not based on

the

Leica IV as is often reported, but an independent construction by Stein,

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created in 1943. The camera was so new and advanced that it would have

taken

the competition several years to catch up. As the rangefinder market was

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already under attack from the slr camera, the competitors (Zeiss, Canon,

<p>

Nikon) decided to jump on the slr bandwagon.

With high speed lenses, and shutterspeeds from 1sec to 1/1000 and an

extremely fast rangefinding mechanism, the M3 evolved into the best

camera

for dynamic and close range human interest photography. But landscapes,

portraits and even glamour (Hollywood) were part of the Leica domain.

The M3 is still a utterly useable and very capable instrument. In fact

the

M2, M4, M4-2, M4P and even M6 are simple extensions from the basic body.

M6

has internal exposure metering, but that was already available in the

M5.

The M3 was a revolution compared to the III-line. And the M5 was a

radical

departure from the M3 family.

The Leica M5.

With the M4, Leica has maneuvered themselves into a corner without

growth

potential. Small improvements were possible, and the external coupled

exposure meter, was not the best nor an elegant solution to the growing

demands for easy exposure metering. The M5, from 1971, tried a novel

solution and departed from the family line. There were many

revolutionary

changes in the M5, including the famous two flat retainers for the

shoulder

strap, the metering though the lens with a moveable metering cell in

front

of the film plane, and a shutter that could function till 30 seconds.

The

smooth top cover with the large special that could be adjusted with

one-finger, the smart indications in the finder , it all added to the

concept of a new era in rangefinder design.

Mechanically the M5 was superb and functionally very impressive, as

Leitz

had used all the experience of 50 years of mechanical engineering and

rangefinder expertise to create the M5. The disappointment that the M5

did

not move the market as the M3 had done, killed almost the company. As

with

the R8, the M5 is a user camera and a very convincing one. It is not a

design beauty. The flat topcover, the location of the transport lever,

the

front of the rangefinder area, it all gives the camera a somewhat

squatted

look. Functionally it is one of the best Leicas ever. Form follows

function,

was the idea in Wetzlar in those days. But the elegance of the M3 was

lost.

The M5 was functionally the better product. With the M5 ended the Leitz

hegemony in rangefinder camera design. The successors, including the M6,

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returned to the M3 roots.

The new M7 is again a radical change from the current line. And so the

M3,

M5 and M7 are from this perspective the real milestones in the M

development.

<p>

Erwin Puts