peterg

Field Day

I just picked up an Epson 3170. Apparently, I've got a lot to learn about Adobe, but I'm still pleased. This is a photo that was simply scanned in with no tweaks, just a slight crop. It was shot at ASA 800 with an M6 and 35/1.4 asph at either 1/30 or 1/60, and at f/4. The scanned print was processed at my favorite King Sooper's lab. Aren't courtside seats wonderful? They weren't my seats, sadly, but I was happy to be a guest.

<p>

<p>

 

 

<center><img border=2 src="http://www.photo.net/photodb/image-display?photo_id=1814821&size=md"></center>

O.K. Couldn't resist. M6, 50 Summicron. I'll admit it. I, too, have a problem finding more interesting subjects than my kids.

That's the trouble with superwides on rangefinders. To quote Forrest Gump, "...you never know exactly what you're going to get." I finally gave up my 21mm because I found the curvature on the edge rather unpredictable. There were times when I could shoot a portrait that you couldn't tell from a 50mm. Other times, faces would be distored unexpectedly. I probably could have gotten better with practice, but didn't use the lens enough. IMHO, it's a tougher to master than most of the other lenses, but still incredibly sharp and lends a unique and interesting perspective when used properly.

I own an M6 Titanium classic. I've used it regulary for two years and I'm not its first owner. To me, its finish looks brand new and shows no sign of any scratches or rub marks. The titanium is not painted on and I seriously doubt any of the finish would come off with an eraser, anymore than it does when I rub off fingerprints, rainwater, or anything else that might spill on it. I find the titanium finish to be the most durable and aesthetically pleasing of any I've seen or owned.

 

If you're looking for someone to agree that the titanium finish is just an excuse to charge more, but adds nothing to the durability of the camera, don't ask someone who owns a titanium M6. I love mine.

It you just want to replace your dial with a black one, you can easily order it over the phone from Leica in New Jersey. On the M6 classic, at least, unscrewing the old one and putting on a new one is a snap.

IMHO, the shops that carry second hand leicas here in Denver have very small inventories and the prices are generally nothing special. I'm sure others will correct me if they disagree. Unless you can catch a camera show when you're in town, you're not likely to find any bargains.

 

The address of Denver Pro Photo is 235 S. Cherokee, 303-698-1790. Generally, you'll find two or three leica cameras and two or three lenses there, but plenty of rental equipmentand good supplies of lighting equipment, film and filters and they do many types of photo processing, including B&W.

Kent,

 

The dial on the back of the M4-P and M4-2 doesn't actually spin or move at all. As Charles suggested, you can mark the ASA you're using on it, if you so choose, but unless you find a writing tool to use that is both eraseable and will not mar the surface of camera back, you're better off leaving it alone and noting your film type somewhere else.

Didier,

 

Try carrying the summicron around instead of the elmar. If you find that you end up carrying the camera around less as a consequence of the larger size and weight of the summicron, then figure you'd probably find the size and weight of the 'lux even more prohibitive. Would it be worthwhile to trade two lenses you enjoy and use for one that you'd use less?

 

Peter

Jason,

 

Do you see the same lack of sharpness when shooting outdoors, without flash, or in more even lighting? It may be that the strong contrast in lighting levels between the flash hitting the face and the darker background are testing the limits of the film's capabilities. You might consider taking a look at a more evenly exposed image and one that you are sure has been metered correctly to judge lens performance.

 

Peter

Felix,

 

I'm not familiar with the SB-30, but I just shot four rolls the other day with my Nikon SB-15 on auto mode on my M4-P and was very pleased with the natural skin tones I got using 200 and 400 ASA Fuji film. I've used the Vivitar 2800 as well. While the Vivitar has more power than the Nikon, I didn't find that I needed it when shooting with the 50mm or 35mm and the Nikon seemed to balance better.

If you're going to splurge on straps and look for a group discount, how about going for the nice leather ones Luigi Crescenzi makes for his half-cases? I think they go for $40@.

Thanks, Ian. I might just try that, unless Leica can provide me with a better suggestion. Now, was that material trimmed from below the metal nub onto which the baseplate hooks, or rom someplace else?

I just acquired a Motor M and find that it fits and works well on my

M6, but when I try to put it on my M4-P, after hooking it to the

bottom of the right side of the camera, it seems a hair to short to

close over the left side. I find this particularly puzzling because

the base plate of each of the cameras fits easily on the other.

 

Has anyone else experienced this problem and, if so, is there a fix

short of sending the motor back?

No Nikon, Canon or Minolta for me,

Only Leica suits me to a "T."

 

 

My photos would all be beauties to behold,

If only there were some way to extend my handhold.

 

 

Wait! I know what would do the trick...

Folks on this forum have suggested softies make shooting real slick.

 

 

But my softie can't be just any of the ones we've seen,

It must be one to make my fellow leicaphiles turn green.

 

 

It doesn't matter so much if it's concave, convex upside down,

I just know I wouldn't be able to paint the town.

 

 

Unless that little thing, that little piece,

Which would be screwed so gently into my release,

 

 

Could have a lineage and renown as great as that of the M3's,

Or if not that, I'd settle for it having been made by Leica, if you please.

 

 

So be still my heart.

I'm ready to start,

Producing artistic photos in reams,

Upon receipt of the softie of my dreams.

Luke,

 

I, too, have fallen in love with the 35mm after shooting with the 50mm for a while. As others have suggested, work on filling the frame with your images before you squeeze the trigger. Keep in mind that even when you've filled the frame, faces and objects that appear close enough in your viewfinder may appear slightly further away on film, especially when you're using a wide angle lens. What you see is not what you'll get. Also, try to place an object or person of importance in the foreground for perspective and try to avoid shooting down on your subjects.

 

Shoot enough rolls of film and pretty soon you'll get a better idea of what to expect to see on film before you shoot. As someone else said, once you become accustomed to that 35, the 50 will seem like a telephoto in comparison.

I, too, recommend the Fuji 400 or 800 ASA print film, though I set the ASA dial to whatever the next lower ASA setting below what's marked on the box on my M6 for best color saturation. I like the color rendition and in 4x6 prints, the grain is nearly invisible, unless shots are underexposed.

I, too, would vote for a slightly larger diameter concave softie. I like the way my finger nestles inside the bowl and automatically gravitates toward the center, but Steve's prototypes are a little small for my finger. The quality of Steve's is nice. I bet some would love a black paint over brass version. Thanks a bunch, Steve.

If you like the design of the Panexia, you might consider the Domke J-series belt bag. I carry mine over my shoulder rather than on my belt, but it allows me to carry my M inserted sideways (like the Hasselblad in the Panexia) with a 35 or 50 and metal hood and handgrip M mounted and ready for action. I don't carry a second lens with it, but the outer mess pocket has room for 4-6 rolls of film and there are other small pockets for spare batteries, filters and such.

Try the second version 35/2 summicron. It can be picked up for a reasonable price because it is not considered the collector's item the 1st and 4th versions are. Nevertheless, it's small, well-made and makes sharp photos. The only minor disadvantage I've found to mine is that the aperture markers are on the side rather than the top of the barrel.

How do you know he's thinking? Maybe he's really asleep. :)

Boon, I wonder if you might find shot to be more effective if you were to crop out the last stack of books to the left and maybe even just a little of the space to the right of the subject. For me, what makes the photo interesting is the traditional garb she wears while looking at high fashion models. Less important and a little distracting is all the books on the shelves. You need only see enough of them to know she's in a library, but you don't need to see so many that your eye is drawn to them instead of the subject. Just a thought.

IMHO, a very effective demonstration of how much more powerful B&W can be than color. Thanks for the moving photo, Gerald.

Steve, the 9/29/01 Issue of Amateur Photographer is the one that contains the article comparing the VC 21 to the Elmarit 21/2.8 Asph.

I really like your "Technique with a Purpose" Photo, Marc. There's something eye-catching about the way you've captured that little girl and the tonal scale from black to white is wonderful. Please post more like that.