charles_mason

I left my M6 out in a very heavy rainstorm last year (on the back

deck). When I picked it up the next morning, I actually poured

several teaspoons of collected water out of it.

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I know you now expect me to tell you it worked like a charm

anyway, but...

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It actually took about a $350 repair bill at Leica to fix. Meter quit,

winding felt completely unlubricated, etc. But it seemed a cheap

fix, actually for what I did. And no problems since. Lens was

also relubed (35mm summicron), and it is fine too.

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So my answer is, the worst damage you might do is about $350.

In some cases, a photo in a rainstorm might be worth that to

you...

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Keep dry!

In the spirit of Preston's thread below, I uploaded a few more

photos in my file on photo.net. Hope you enjoy them!

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Cheers,

Charles

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http://www.photo.net/photodb/folder.tcl?folder_id=189232

For the naysayer who didn't read my account, the photograph is

not "staged" in the slightest. These kids were waiting for their

mother, and were exactly as you see them when I walked up.

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Another interesting tidbit--I did in fact sort of catch up to the kids

some years later. I was having a show in Virginia, and a person

came up to me and asked about the photo. She said she knew

the kids at their present ages. I asked how, and she said she

now was the parole officer of the older boy.

John,

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I have done this a number of times, and offer a little advice. Get

a few Graphmatics. You can usually find them on eBay. They

hold six sheets of 4x5 in the space of about 1.5 normal holders,

and you crank a new one in place for each exposure. Can be

done in a couple seconds at most. They work great. Second,

make sure your rangefinder is aligned with your lens (I

know--that is an obvious bit of advice-sorry), and finally, I bought

a little polastic flash shoe holder at a photos store and attached

it with a screw to the top of the camera. Then a Vivitar 283 style

flash (that is all you need, really) sits right there. If you want,

instead of or along with the Graphmatic, get a Polaroid back and

shoot Type 55 P/N film. It is wonderful stuff, and with a flash you

can easily handle the Polaroid exposure speed of 50 (the

negative's speed). And it gives you a decent, slightly hot, print to

give you subject for a release. Plus it will attact a crowd.

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Good shooting!

Charles

Photo is at:

http://www.photo.net/photo/621373

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I can't believe it has been twenty years since I shot this. Where

does time go? Anyway, this was the scene as I got in my car,

one empty parking space away, as I came out with my groceries.

I wanted to take the shot, but was a little leary. Then the boy in

the middle saw my camera hanging around my neck (my fairly

new IIIf), and said "Hey Mister--take our picture." I dropped my

groceries (literally) wheeled the camera up to my eye, and

snapped this frame. Immediately he then said "Wait," reached

into the back seat, and brought up a fuzzy little black puppy. All

three were all smiles and the moment was almost gone forever,

save that first frame!

It was shot handheld. Shot a few frames, then saw bus coming

and saw the photo. Luckily that pup is a very stoic fellow, and

tolerated my position very well. John, is he still outside

Nordstom's? I did stuff a few bills in his cup, which his owner

immediately retrieved.

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Thanks for the comments.

Charles

Giles, thanks for the click-ability!

cm

I'll try and post this one just once!

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http://www.photo.net/photo/618178&size=lg

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Thanks,

Charles

What I enjoy most on this forum is seeing other's work. I finally

figured out how to share an image. Sorry I haven't spent the time

to discover how to make it clickable yet. That is next.

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If I did everything write, the phot is at:

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http://www.photo.net/photo/618121&size=md

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Cheers,

Charles

" I don't know what it means."

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It means you guys are spending way too much time looking for

this kind of stuff instead of out using the lenses to make

photographs. And that is all it means.

I live in Fairbanks, AK, and use Ms all winter. Eventually they do

get cold soaked and freeze up (at -40F or so), but I have frozen

then thawed hundreds of times without any problem, and I have

never warmed them up in a bag. Of course, our climate is drier

here than Balmy Boston.

This has probably come up before, but I am new to this forum

and wonder if anyone out there knows of an accurate description

for aligning the M6 rangefinder oneself?

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Thanks.

Whether we are shooting digi or film is still largely based on final

usage, speed of need, and clients comfort with digital. I shoot a

lot on film that could be done better (see it as you shoot it), faster

(email vs. Fed-X), and cheaper (well, in film anyway--not the

camera itself), on digi. But clients still like it. I had two shoots

last week, one made it an option to shoot digi or film, and the

editor in New York was looking at the photos an hour after I took

my lights down. Other was film, and they had all the usual film

charges, shipping, and delays. But lots still don't trust digi, even

though it is more than there for most publication usage.

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Another thought, if the M8 was 6-10 MP digi, I'd jump, wouldn't

you? If they could maintain the "feel" and SIZE of the M6, I'd wait

in line for it. One thing I hate about the D-1 is it is huge and bulky

and so are the lenses. And I love Ms and Tri-X or 3200. But it

would be hard to ignore a Leica M that shot exactly like the film

cameras.

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I have another question, though, for commercial or PJs out there.

Is anyone charging a surcharge to shoot digi, since the client is

saving a ton on film and processing, and the up front cost and

generational replacement costs of the camera is so high? I am

thinking of doing this, but haven't figured a way to structure it.

Maybe just a flast $100 fee for digital, and maybe another fee for

the "delivery?" Any thoughts?

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Thanks,

ps--I meant an older "classic" .72 body, since both the 35 and

the 90 work well with that camera's viewfinder...

Many good points above. But you might consider forking out big

bucks and getting the 28/2/asph, as it will give you a stop over

the 24 and doesn't require the expensive accessory finder. Also,

if you wear glasses, think about the .58 TTL M6, as you can see

the 28 corners with glasses on. Then find a late late Tele

Elmarit 90/2.8, the newest design before they went to the 90

Elmarit. I think it only has 4 elements, is tack sharp, and weighs

nothing and is tiny. Only drawback is you'll need 46 and39 filters

for this set up. If instead of the 28 you got an older 35/2

Summicron, the one just before th asph/2 came out, all your

filters will fit it and the 90TE. And you could use an older

"classic" M6 even with glasses. Now that your system is

morphed anyway, add a late (but before the pull out hood) 50/2

Summicron, and get one of those neat little gray double lens cap

things to butt the two lenses you aren't using together. Now your

three lens system, all of late but older used equipment, fits in a

big pocket. Film and a Vivtar 2800 in another pocket (if you want

a flash at all--it is tiny, recyles fast with 4-AA batts, and cost about

$40 bucks), and see the world. Have a great trip!

And the Pro Tri-X is a completely different film than non-pro

35mm and 120........

what do you need comments for--you know what you are

doing--it shows...

your first shot is intruiging, but I don't seem to be able to get into

the portfolio?

don't know this, but wonder if Leica users out there realize the

hood that comes with the 35/1.4/ASPH will work fine on the

28/2/ASPH, and it is a lot smaller and lighter than that box they

give you with the 28 lens...

stephan,

if you had to get the camera out of the bag, then get it to your eye,

set the exposure, and frame and focus to shoot, I am afraid the

moment was gone even without the velcro! ; )

charles

Sven,

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Most all the name brand color negs are good, fuji, kodak, agfa,

so just pick one that matches your speed and pallet needs. But

more important is the issue of xraying. Remember DON'T put

any film into checked bags, as the xrays used on those KILL film.

Passes through domestic carryon xrays for 400 and lower films

are usually ok, but it is much better to try and have it hand

checked. Overseas who knows what power the equipment will

be xraying at. So best to put all your film (kodak, anyone's) into

clear Fuji type cans, then those into Ziplocks, and have it in a

place in your carry on so you can easily pass it to the inspectors

and ask, with a smile, for hand checking please. If you are ready

they are much more likely to be helpful. You can buy new

supplies of brand films in most of the locations you mention, and

I'd Fed-X home shot film, if there is too much to carry, as Fed-X

doesn't xray and is easy to track worldwide. (ps--my own color

neg favorite is the Fuji 160 stuff... and Fuji 800 is unbelievable!)

If I follow your email and you are getting one of those funky offset

Gitzo heads, you might want to reconsider for the Arca Swiss

mentioned above. Those Gitzo heads are awful to work with,

since you are off axis with any swivelling. We used to joke that

Gitzo pods were designed by twins, one a genius (the legs) and

one an idiot (those funny ball heads). I say, cancel the order and

go with an AS or the new smaller Kirk Ball head.

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Good luck!

I am afraid I can top you all--1992 House fire--lost 3 M bodies (2

M3s, M4) 11 lenses, and various parts and pieces. No

insurance on the cameras. On the bright side, I had never

owned a new Leica item before, and we used some of the

general household insurance to get an M6 and five lenses all at

once. When it came in, I had to ask to be alone to open all those

shiny white boxes!