sheridan

With my first Leica M, an M3 double wind in combination with a 21mm f4 Super Angulon, the images were actually oversized resulting in

them virtually touching the sprocket holes. This was an effective 19mm to 20mm Super Angulon. This characteristic was not present in my

M4.

FWIW ... Have heard the R10 will be coming out coming out, however, it will not be full

frame.

Dear Alex,

A check up on the listings showed this old work horse up as a 1938 Leica

model number II.

Hello Tan,

Here's one for you taken with 135mm Tele-Elmar at f4. I think this lens has

good OOF rendering wide open.<div></div>

This photo, taken at the Louvre in a room with minimum lighting, I guess to

protect several rare paintings by Jean Baptiste Oudry, was the only one I

could squeeze off before the officials stopped any further photos. It was only

when they heard the soft Leica whirr of 1/2 second that they realized a photo

was taken sans flash. Jean Baptiste Oudry was an incredible painter in the

Roccoco period ( this painting completed 1741 ) who captured the essence of

his animal subjects and used chiaroscuro lighting very effectively.<div></div>

James,

The 65mm Elmar is a great little lens. I've used one for quite a few

years. I think the black version is slightly better than the chrome version. Even

at further distances, 5 feet and further you'd be surprised how sharp it is. With

a large exit pupil and only 4 elements the images are contrasty and very flat

field. My 60mm Macro Elmarit does not stack up as well close up. It's worth the

patience taking phots with 65mm Elmar and Viso.<div></div>

Hi Alex.

From your run down this should be a great night for you and the

rangefinders...From my experience , and the film you've opted to use I'd be

keeping the 135mm Elmarit on the M6 and the Sonnar 85mm on the SP. I've

found the 90mm Summicron is a great lense for stage work ... an f4 90mm is

just too slow. When metering be careful not to overexpose the actors in the

contrasty stagelighting.

Hi folks ...Last week I handled a new 50mm 'Lux...an impressive piece of

glass to say the least however, next to my pre-asph 50mm. the pull-out hood

appeared miniscule and less effective. Granted, that with this lens as well as

the newer cosmetically designed Noct. and Summicron 50's there is no

chance of losing that hood. Also, with the new 'Lux 50 and Elmarit 90 there

maybe more flare resistance ... But do you think Leica are following more

fashion than proper function here and the newer designed pull-out hoods are

not really as flare resistant nor perhaps protective of the front element in case

of an accidental whack?

Kodachrome 25 Professional ( promptly processed ) always gave me the the

zing ... it's a shame Al that I was too young to try Kodachrome II.... now I guess

we've got to use E6. At least images can be processed quick. But will they

last as long?<div></div>

SL2: 21mm S.A; 35mm Elm; 60mm Elm; 90mm Elm; 180mm Apo; 180mm

Elm; 400mm Teyt; 560mm Telyt.

For my purposes Dual scan III with photoshop 7 has been good. For serious

black and white enlargements I still can't go past the Focomat 1c enlarger.

Sheldon. Just for interest's sake ...a couple of weeks or so ago on ebay a very

rare lens was auctioned off. It was a 180mm f3,4 Telyt , complete with

integrated magnifier, ... for all intents and purposes at first glance it looked on

screen just like the 135mm f2.8 Elmarit M. I recall Mr. Puts has made a

passing mention of this lens as a planned design. Correct me if I'm wrong but I

think it drew close to $2,000.

The framelines of my M6 look positively chunky in comparison to my M4's.

The slimmer framelines of the earlier M's are, to my eye, easier to frame an

image more accurately.