From Leica to which DSLR?

<p>I mainly shoot with a Leica M6 and 28/35/50. However, I must acquire a DSLR for my photojournalism class. Prior to Leica I have used old school Pentax and Nikon, but I don't have any on each anymore. I'm leaning toward the Canon 7d or Nikon D300s. I recently noticed from shopping and testing that Nikon lens turn the opposite direction from Leica which was initially confusing. Coming from Leica, I can only foresee myself making use of aperture and shutter speed so all the technology is a bit confusing. I expect a learning curve for which ever system I choose, but other than that, can any guide me toward a direction in which system to start off on from Leica?</p>

<p>Pentax has a nice selection of top-quality modern prime lenses which sets it apart from the others. Focus direction is the same as Leica. Pentax DSLRs will mount & meter every manual and autofocus K mount lens ever made, and M42 lenses as well with a $30 adapter. (Use only the Pentax branded M42-K adapter if you go that way.)</p>

Do you focus manually with a Nikon dSLR? Which one?

 

I go between my Leica M bodies and my Nikon film AF bodies without the slightest problem. And if you intend to use the digital body as if it were a manual camera... why bother? Take the best each camera has to offer (AF in the dSLR, manual focusing and metering with the Leica M) and enjoy. Both are very different tools, for very distinct purposes and applications.

 

Good luck!

<p>The rich, warm rendition of color and smooth bokeh obtained from Nikon cameras and lenses is much more in keeping to the Leica standard than the rather harsh, cool Canon look, in my opinion. You would also have access to the great, all metal legacy Nikkors.</p>

<p>Also, the high-end Pentax bodies (K10d, K20d, K7) and some of the lenses are weather-sealed, which would be useful for photojournalism.</p>

<p>The 7D is definitely superior to the D300s. The midrange cameras to consider are the Canon 7D, 5DmkII and the Nikon D700.</p>

<p>One interesting option to consider would be the Panasonic GH1, which can accommodate Leica M lenses with a simple mount adapter, and has by far the best HD video ergonomics in any DSLR. Many photojournalists believe the future is combined motion and still capture.</p>

<p>For the most robust auto-focus performance the D300s would be your best choice.</p>

<p>If it's for a class, who cares. You have to comply with a few technical requirements, get something really cheap, an A and move on.</p>

<p>Thanks for everyone's responses so far. There are so many options and they all seem competent. I really like the Panasonic GF1 and Olympus E-P1 but it seems big heavy DSLR is what I must become familiar with if I plan to have a career in today's photojournalism. What I am most concerned about is the ergonomic and operational logic transition from Leica to a DSLR, if there are any. And if the direction the lens turns make a difference. Viewed from the front Nikon is counterclockwise and Canon is clockwise like Leica.</p>

<p>I think Pentax and Sony are good choices, too. I use Nikon just because I like them, not because they're better. I know I'm not a fan of the Canon 'look' but that is just a matter of taste. Michael is right though: if it's just for a class, who cares?</p>

<p><em>The rich, warm rendition of color and smooth bokeh obtained from Nikon cameras and lenses is much more in keeping to the Leica standard than the rather harsh, cool Canon look, in my opinion.</em></p>

<p>There is no 'Nikon look' or 'Canon look'. It's digital. You can get any look you want through RAW or through JPEG parameter settings. Bokeh is a matter of lens design, and Canon has plenty of lenses with nice, smooth bokeh.</p>

<p><em>For the most robust auto-focus performance the D300s would be your best choice.</em></p>

<p>I would place the 7D AF module right up there with the D300s module. But Canon has more fast focusing USM lenses.</p>

<p>Johnny - if you're going to have a career in photojournalism you cannot take the attitude of "it's just for class". Take a good, long look at each system, Canon and Nikon. Look at their lenses and accessories, and decide which will best suite you in the long run.</p>

You wrote: "What I am most concerned about is the ergonomic and operational logic transition from Leica to a DSLR, if there are any."

 

Should I understand that you want a dSLR that will feel in your hands like a Leica M body, so that you can pick it up without looking and keep shooting with it as if both were the same?

 

I don't think you can, but if you want to believe it, go ahead.

 

FWIW, I switch between cameras and systems when it strikes my fancy, or when the subject requires it. I already know that a Leica gets handled one way, whereas my D700 will be used differently. I know their layout from sheer practice, not because of their similarity. You can do the same... with any camera you pick. Have fun shopping!

<p>The photojournalists use the Nikon and Canon cameras with the highest frame rates, with APS-C sensors.<br>

Pentax lenses have focus and aperture rings that go in the Nikon (well, originally Contax) direction.<br>

Most DLSR's are so horrible for manual focus that you will have to depend on (and learn to love/hate) autofocus. They have tiny finders, often with pentamirrors instead of pentaprisms, and focusing screens optimized for brightness with the incredibly slow "klt" zoom lenses they come with. So the direction of the focusing ring gets somewhat irrelevant.<br>

The Pentax DLSR's are somewhat Leica-like, in being compact, light, and having some really good prime lenses (the FA and DA Limited series) available. But PJ work is normally zoom lens territory today.</p>

 

<p>I've used Contax G2s entensively (21, 28, 45, 90) and am now very happy with a Nikon D90 and 16-85. Relatively small, not to conspicuous, balances well and the zoom replaces all the lenses. I sometimes also carry the 35/1.8 for low light, making it even smaller and lighter. The high ISO sensitivity makes up for the slower zoom.</p>

<p>Take whatever you've bought out with a decent sized memory card and shoot until it's full to get a feel for the camera. Your mind will adjust to what you pick up after that -- and most PJ work will be autofocus as John Shriver pointed out.</p>

<p>If you're going to freelance after graduation, invest in some good glass if you can (two or three good fast zooms to cover from wide angle to moderate telephoto). Think of this body as the first in the system. Pick a system you can live with.</p>

<p>Consider that if you want to rent a long lens for a special assignment or if you need to rent a camera body in an emergency, more places will have Nikon and Canon gear than will have other brands (a local DC rental place has nothing except Nikon and Canon in DSL gear; Calumet in NYC rents Fujifilm DSLR bodies in addition to Nikon and Canon, but those take Nikon F mount lenses). Most places that provide staff cameras are more likely to have either brand than any other brand.</p>

<p>Weight is less big a deal than you might imagine, but both Canon and Nikon have lighter weight consumer grade DSLRs if you would prefer those, but try the cameras in your hands.</p>

<p>Add a 35mm to 50mm prime lens for fast and light.</p>

<p>I shoot with a Leica M7 and a Nikon D300. It's unlikely you will do any manual focusing with any dSLR so I would not be concerned with which directions the lenses turn.<br>

To get yourself started, I highly recommend an entry-level consumer dSLR. Use it for two years, dump it for 25% of your purchase price, and upgrade to a prosumer or pro model.<br>

Good luck and good shooting.</p>

<p>I shoot with a Leica M7 and a Nikon D300. It's unlikely you will do any manual focusing with any dSLR so I would not be concerned with which directions the lenses turn.<br>

To get yourself started, I highly recommend an entry-level consumer dSLR. Use it for two years, dump it for 25% of your purchase price, and upgrade to a prosumer or pro model.<br>

Good luck and good shooting.</p>

<p>i shoot an m6, d700, 4x5 combo and i'm studying visual journalism if that means anything to you.</p>

<p>i just like the fullformat feeling, wherever it may come from, you might wanna consider the d700 therefore. if you're into video go for a 7d or d300s, it really doesn't matter though i'd say.</p>

<p>michael</p>

<p>The ergonomics of any DSLR is going to be radically different from what you're used to. I went to a Konica Minolta 5D and then a Canon 5D. You can get used to the control layout from either. Something like a micro 4/3rds camera might allow you to use some of your lenses at a 2x crop factor. You won't like the weight of modern DSLRs, especially something like the 5D (though you WILL like the image quality). I'm tempted by the micro 4/3rds cameras but don't like their viewfinders. I do miss the M2s though.</p>

<p>You do not have to get the optimum photojournalist's DSLR outfit now. Get the most affordable with the features stipulated as essential for the course. The reason for the <strong>D</strong> in the required <strong>D</strong> SLR, is to make sure you know where to stick your memory card when you get back from an assignment. It has little to do with photography.<br /> <strong>I agree 100% with Michael DiMarzio, it's for a class!</strong> <br /> It is just as important, in fact I think more so, to explore and exploit the potential of the equipment on hand, so that <strong>YOU</strong> can the make an informed decision when it comes to buying high-end expensive gear.<br /> As a teacher, I would be more pleased to see you follow Michael's advice rather shopping after technical specs. Work your way through experience towards to the camera of choice. Rather than buying something with all the bells and whistles and fancy programs. The course is about photojournalism, not how to drive a sophisticated, state of the art, do-it-all wonder camera. Crap!<br /> You already own one of the best there is, and will ever be. For Heaven's sake ... !</p><div></div>

<p>My how times have changed. Used to be they made you use a film camera instead of some computer that takes away all the thought in the image capture process. Anyway, if you're a Leica fan, try to talk your prof into letting you use a Panasonic GF1 or a Olympus EP-2 if they come out in time for your class. It is as close to digital gets to a Leica without spending a ransom on equipment.</p>

<p>Another option...<br>

If you want to use your Leica glass, consider a Panasonic G1. It will mount Leica glass with an adaptor. Strictly speaking it's not a dSLR since it replaces the mirror (the Reflex part) with an electronic viewfinder. But your professor may accept it since you still need to use a viewfinder. I'd ask your professor before buying.<br>

And if your photojournalism education also includes video - more and more journalists are being asked to produce video as well - then consider the Panasonic GH1. It's like the G1 except for the fact that it shoots HD video. You may not need that in this class but maybe sometime soon?<br>

I'm also with the camp that believes that you will probably buy more gear when you graduate. With that in mind, the Panasonics can always serve as your personal gear and you'll always have a home for your Leica glass.<br>

Good luck!</p>

 

<p>As for "The Look" of Canon vs. Nikon, Nikon has always tended towards high contrast, edge dominate images vs. the smooth tone of an older Zeiss Planar for example. Minolta slr lenses were sharp but didn't have that edge enhancement that Nikons seem to produce. Better colour on Minolta XD lenses too. As for your choice, I have the solution! My nearly new Nikon D300 with a 24 -120 zoom lens. The Nikon will do everything you ask, shoot faster than ever, is robust, light and will take the extra battery grip that bumps the speed up to about 7fps. Also, the built in flash allows you to either trip a slave or use the Nikon lighting system.</p>

<p>Mid-thread the OP states:</p>

 

<blockquote>

<p>but it seems big heavy DSLR is what I must become familiar with if I plan to have a career in today's photojournalism.</p>

</blockquote>

<p>So it appears it's not just "for a class."</p>

<p>Anyway, professional photojournalism is first and foremost about getting the job done. <strong>This means storytelling pictures, in nearly any situation, back from the field on time to meet deadline.</strong> Panasonic GF1 and the like may be fine for features and to some extent news and portraits, but you're not going to be able to do things like sports very well without a proper DSLR and long glass. God forbid you run into an event situation where you're roped off in a "press area" several hundred yards away. What are you going to tell your photo editor?</p>

<p>"Just for a class" is the wrong attitude to take, especially if you're planning a career out of this. If you want to get something out of the class, then at least pretend to take it seriously. It's an immense freedom to be a student, where you can take risks without any danger of losing your job. Take advantage of that freedom and build the best portfolio you possibly can.</p>

<p>An editor thinking of sending you out on assignment will want to see that you can reliably handle almost anything. They don't have time for glorified point-and-shoot-carrying primadonnas with their noses in the air, "I don't do sports because I'm an artist with a 50mm lens." People with that attitude shouldn't waste the editor's time. There are plenty of other photographers to choose from, all with the proper gear and attitude, hungry for an assignment from that editor. That's the market reality.</p>

<p>The image of the Vietnam 1971 Leica-toting photojournalist is, of course, very romantic. But in this field, romanticism takes a back seat to getting the job done, so pick the proper tools for the job. In 2009, media outlets expect interns and potential hires to have a working familiarity with DSLR photography, Photoshop, videography, and Final Cut Pro. If you're seriously considering this as a career, that is current reality. Anyone who tells you otherwise simply isn't plugged in to what's going on, and probably shouldn't be giving advice on this topic.</p>

<p>Ultimately, this is really the old Canon vs. Nikon question, just in a slightly different flavor. Go to a store and handle both. This will tell you a lot more about which one to choose than any internet forum possibly could.</p>

<blockquote>

<p>The rich, warm rendition of color and smooth bokeh obtained from Nikon cameras and lenses is much more in keeping to the Leica standard than the rather harsh, cool Canon look, in my opinion.</p>

</blockquote>

<p>The fact that it is just your opinion should make you a very, very happy person, because in real life you wouldn't be able to tell apart pictures taken with Nikon, Leica, Canon...</p>