christoph_frick1

I'm using slide film most of the time. A few years ago, I got a Pradovit P 150 with the Colorplan-P2 lens; this was already a huge improvement compared to the projectors I used before. Now, a few weeks ago, I upgraded to a Pradovit IR and the Super Colorplan, and again I like it even better.

 

The majority of film I currently use for producing slides is actually Ilford FP4+, processed by dr5, turning out beautiful BW slides.

 

While I don't know the Braun projector you have, I can only say from my experience that my current Pradovit IR is by far the best projector I ever used for my slides. Combined with a Leica M and those lenses I enjoy it very much.

 

Recently, I find it more and more difficult to buy slide frames (I prefer framing my slides myself).

I'm used to the 0.72 finders, and have no experience with an M3 and its 0.91 finder.

 

What I like about the 0.72 finder with 50mm is: (i) substantial eye relief (I wear glasses); (ii) I can see an area around the 50mm framelines, which helps anticipating, what's going to happen (e.g. person walking into the frame...).

 

I use the 75mm Summicron (I like its results so much that I'm looking out for opportunities to use it), and therefore I do need 75mm framelines. However, when using 50mm, I find it easy to ignore the 75mm framelines.

I've had a few wrong DX interpretations with my M7 with Provia 100F:

the display said "25" and the meter behaved accordingly.

 

What helped was to move the ISO dials around a bit -- I thought maybe there is some oxidation in the potentiometers...? -- On the other hand, I can't remember having had this problem with other films.

Yes, I do.

 

In particular for use as a BW slide film, developed by dr5 (see www.dr5.com; no, I'm not affiliated with dr5, just a very happy customer of this lab).

 

I tried both films (and more...), both with "normal" labs (producing negatives) [unfortunately, currently I can't develop negs myself] and with dr5 (producing beautiful BW slides) and in particular for BW slides from dr5 I settled with FP4+ (...and HP5+ when needing more speed). Delta 100 somehow looks flatter to me. FP4+ BW slides from dr5, projected with a Leica Pradovit projector, is exactly what I'm looking for -- I feel I can walk into the picture. The tonal range is amazing.

 

...and tomorrow I'm off to Paris with my Leicas (Ms) and lots of FP4+ and HP5+ (along with some Provia) ;-)

Maybe before your trip you could get the shutter speeds of your M6 checked, then you know for sure whether it's the shutter's fault that you got too many overexposed slides from your other trips.

 

However, another reason for those overexposed slides could be that you might be more used to shooting negative film? -- Remember, negative film should be exposed for the shadows, but slide film should be exposed for the bright areas. I've shot lots of slides (Provia in colour or FP4+ via dr5 in BW) with my M6TTL and quite often used 1/500 and 1/1000 with acceptable results -- maybe I'm just more lucky with the accuracy of the shutter of my M6. On the other hand, when possible I do bracket (3-5 frames, sometimes even more), because as you said, the trip itself is expensive, but film is relatively cheap (obviously there are situations when you cannot bracket). Good luck and have a nice trip.

Another recommendation for dr5: I used Scala for a couple of years for BW slides, simply not knowing that there are alternatives available -- and I do like the Scala look for certain things.

 

However, for certain applications I wanted a different look, e.g. for landscapes I wanted finer grain etc. I learned about dr5 -- guess where -- right, on photo.net, and tried several slower films, including PanF, FP4+, Delta100 ... For what I want to have when I want an alternative to Scala I settled on FP4+ via dr5 neutral (haven't tried their "sepia" version), pushed by 1/3 stop for a slightly increased contrast. My experience with dr5 is very positive: quality is very good, turn-around time is quick...

One aspect hasn't been mentioned yet: the "problem" of the moving focus plane when re-composing by tilting: If you work with very limited DOF and e.g. want best focus let's say in the eyes but want a composition where these eyes are not in the center of the frame, if you then re-compose by tilting your M by some degrees, such a tilt obviously causes the plane of focus to tilt as well, and by that obviously the focus plane does not run through those eyes any more, but is behind the eyes by a couple of centimeters, e.g. running through the ears.

 

With very limited DOF, this effect is very noticeable. There are several threads in the archives discussing this. One has to learn some techniques to avoid it, e.g. re-compose not by tilting the camera but by sliding sideways or up- or downwards, or when tilting, just also slightly bending back by those few centimeters.

Wonderful photo! After a long day behind the computer, working on boring stuff, this masterpiece now made me happy. Thank you very much, Douglas!

One more vote for the Leica table tripod with Leica large ball head. For me, it has a good compromise of not-too-light vs. not-too-heavy. Admittedly, it's not too compact, but on the other hand, this way it can be used comfortably as a chest-tripod as well. During my recent trip in the Dolomites, I used it quite a lot with the 90mm Elmarit as a chest-tripod, and I'm happy with the results: no sign of camera shake in the projected slides. I also admit that I often use it without a cable release (for shutter speeds of 1sec and faster) and haven't seen any problem with this in the projected slides. But of course, using a cable release also looks cool ;-)

I did have problems with the meter of my M6TTL, but quite different ones. The meter simply gave dramatically incorrect readings (which partly was good because it was very clear that the meter was wrong). Where did you get your Leica repaired? -- In my case, as I live in Frankfurt, which happens to be fairly close to Solms, my M6 went to Solms; it also was still within the guarantee period. It came back from Solms first much quicker than expected (2 weeks incl. shippment) and second in great condition: the meter works perfect again, the shutter speeds are very accurate, better than before, the rangefinder is spot on, the viewfinder was cleaned (it was already quite dusty when it went to Solms),... So, up to now, my experience with Solms was pleasant. So maybe, if up to now you tried to get your M6 repaired in the UK, consider having it sent to Solms. Did you use some of those flashes on your M6TTL which seem to fry the electronics? Good luck!

Bigger is better. Size matters. You said "assume the lens quality is the same." Total resolution is always a result of the entire chain. So here, the main ingredients are the chip resolution and the lens resolution. For the smaller chip, the individual pixels are closer to each other in absolute terms. The lens resolution is limited as well. If you would use a lens with a better, higher resolution with the smaller chip, it might be possible to even things out, but you said you assume that lens quality is the same. Another important factor is the absolute size of each pixel: the larger, the better, for better dynamics (better signal-to-noise ratio).

I guess you do not want to *replace* your entire Nikon gear with an M7? It is true that the Leica Ms are best with shorter lenses, and SLRs have an advantage with longer tele lenses. But I actually quite like using a 90mm (the Elmarit in my case) with my M6TTL (0.72); this combination I find very usable [haven't tried a 135mm yet, and would hesitate]. In a way, it's also quite natural, due to the way the human eye is constructed with this quite small spot within the retina (sorry, don't know the proper english word for it, hope you know what I mean) which has the highest resolution, which gives high resolution vision only in a quite narrow angle, quite similar to using a 90mm on a Leica M. Also think about the viewing angle to the TV in normal viewing distance. I added an M6TTL in May 2002 after more than 20 years with SLRs, mostly with Nikon FM2n with 35mm, 50mm and 105mm primes. There is a learning curve involved using a Leica M, but it definitely is a pleasure and a lot of fun. However, as another poster pointed out, mixing a Leica M and a Nikon during the same shoot can be confusing as all the controls are operated in opposite ways (focus, shutter speed dial, aperture rings...). Once I used my M6TTL with 35mm together with an FM2n with the 105mm and got quite confused, also with the exposure meter LEDs in the viewfinder window (different positions). I dare to use the M in situations in which I would never even think about using an FM2n, mainly due to the much quieter shutter. For certain applications I think the Leica M is unbeatable, and it is such a joy to work with it, and I like the results of my Leica M lenses much better than of my Nikon AIS primes, both BW and colour.

I agree with those who say: "Life is too short." If you have the budget, get both. For example, I could have afforded to enter the Leica M world at least one year earlier than I did, but I waited, telling myself that as an amateur such top-quality gear would be waisted on me etc., and I should rather focus on taking better photos with my SLR gear and so on... -- but then, using the M turned out to be such a pleasure that boosted my interest in photography. Now I know I should actually have bought one at least 20 years ago (at that time maybe used ones would have been affordable even for me). If it turns out you don't like them you can always sell again with not too much if any loss.

Stephen, I fully agree with you that one can easily see differences between results from lenses from different manufacturers, in particular with colour slides. It is very obvious to me when comparing slides made with my Leica M lenses or with my Nikon AIS primes. I also prefer the Leica "look" and hope that Leica survives.

 

It's also obvious, that if you give me a Stradivarius violin or an assembly line violin, in both cases it would sound horrible (I don't play the violin) -- but if you give somebody like Hilary Hahn or Maxim Vengerov a proper violin (whether it's Vengerov's "Kreutzer" or Hahn's Vuillaume) vs. an assembly-line-violin, the differences would be very obvious. And Hahn or Vengerov would make much better music with the assembly-line-violin than me with a Stradivarius. For best results, combine Hahn or Vengerov with a violin of their choice. Therefore it's important that such top quality products do exist. Now, wouldn't it be nice to have Leica lenses available for medium format?!

Sorry, I cannot answer most of your questions, just share my experience: I now use a humble Pradovit P150 with a Colorplan P2 2.5/90mm lens. While I haven't seen a Navitar yet, this combination yields the best quality of projected slides I've seen on that level (use at home; I also enjoyed a pro slide show weekend, where they used the pro-end of Leica projectors and lenses, and that was also truly amazing, in a large concert hall with a huge screen, still very bright etc.).

 

Regarding curved or flat field: Leica does not produce the curved field lenses any more; they claim that those were only necessary for paper board mount slides, and that modern glass-less plastic mounts would be fine with a flat field lens.

As was stated by other posters above, the official Leica statement is that it does not matter at all.

 

I think what is actually more important is the advice that any mechanical device, in particular a Leica M shutter, should get proper exercise. So I think it depends what you mean by "cocked for a long time" -- not exercising the shutter "for a long time" *can* do some harm, e.g. making a CLA necessary etc. Therefore, with all my mechanical cameras (M6TTL and FM2n) I try to remember to exercise them (using all shutter speeds, in particular the slow ones which might not get used that often during normal shooting) within not too long time periods (I heard that something like once per month is fine).

 

Other than that, I always leave the shutters of all cameras cocked, and never experienced any problems. Ideally, the shutter of your M6TTL should get plenty of exercise when shooting kilometers of film, but if for some reason it's not used for a while, just remember to exercise all shutter speeds regularly.

What I like about #2 is that it has the widest diversity of bubbles. Interesting results of a funny project, thanks for sharing.

For me, the 0.72 viewfinder is the best allround solution; even with glasses for me it is OK with the 35mm lens. Best would be if you could try it out somewhere. Regarding lenses, I started with just one lens (50mm Summicron) for the first few months to start my learning curve with the M (having been used to SLRs mainly), then added the 35mm Summicron ASPH, and later the 90mm Elmarit; now saving up for the 24mm Elmarit ASPH (for which I will need to use an external finder with my 0.72 M6TTL). But if you have the budget, there is no reason not to buy a couple of lenses right in the beginning, in particular as they hold their value quite nicely, so if you find out you want some other ones (Summilux instead of Summicron etc.), you can always trade. Some people would emphasize using the fastest lenses with a Leica M, as this is a particular strength of Leica, and if budget would not be limited the way it is, I would certainly try all those fastest lenses; on the other hand, the not-so-fast lenses have the advantage of being more compact and lighter, so there are always pros and cons. Have fun!

There are certain aspects in some of your work which are of a similar quality to certain things in some photos of one particular of my favourite photographers (can you guess who?); I'm unable to describe it in a few words, but indeed it is a great pleasure, thank you.

Just because MX2 was mentioned some posts above: Here in Germany, I used to use MX2 a few times and used to be happy with the service: good prices, quick delivery, fresh film. But a few months ago I tried to order some film from them via telephone, a guy took my orders as usual, but then nothing happened for about a week, so I called again, heard some excuses, but still no delivery. At some point, nobody was reachable any more under the MX2 phone number for Germany. I also noticed that their ads vanished in some of the German photo journals. I gave up and ordered somewhere else (unfortunately, more expensive...). Does anybody have any news about good film sources in Germany, about the fate of MX2, in particular a good source for TriX (which is notoriously difficult to get here)?

When going out without particular photographic plans, but wanting to have a camera with me just for what you described as "the great defining moment", I often only take one body with one lens (nowadays mostly a M6TTL with either 50mm or 35mm 'cron). But when I go out particularly for shooting, often I wish to have two bodies, either to use different film, or to have different lenses ready quickly. Right now I'm saving for the 2nd M body. Other than my M stuff, I have a Nikon SLR system with two FM2n bodies, 3 prime lenses and one zoom.

 

Once for shooting a carneval parade I took along the M6TTL with 35 and 50 and one FM2n body with the 1.8/105mm. I must admit that I got quite confused due to the different user interfaces: the light diodes of the meters are at different positions, and all the controls operate with opposite orientation (focus, aperture, shutter speed). Maybe with more practice one could manage this, but I didn't like it, therefore my plan to get the 2nd M body (also as a backup just in case).

My M6TTL needed to go to Solms due to a broken meter in March this year. In my Leica shop (which sent it to Solms for me, it was under warranty), they told me it would take 4-6 weeks according to their experience. So I was a bit depressed, as this is my only Leica M body. However, when I later called Leica, I was informed that it would only take two weeks, as they weren't too busy that time. I got it back exactly 2 weeks later already, incl. shipment (but I actually live not too far from Solms). Leica Solms told me the following: (i) it depends whether it's under warranty (then it gets higher priority) or not; (ii) it depends how busy they are at that point in time.

 

A few weeks ago some economics news radio programme had a few minutes about Leica (as Solms is in our region), and they stated that currently Leica is not too busy, actually doing short-time working. On the other hand, currently there are the summer school holidays in our region still going on for 2.6 more weeks, this might slow things down a little.

 

You can use the repair trecking thingy on the Leica Web site; in my case it worked nice and accurate. I can also say that when my M6TTL returned from Solms, it was better than new: clean VF, very accurate shutter speeds, very accurate RF, everything smooth... Good luck!

Alex would not be the first one to successfully use a Leica M in a rain forest -- wasn't there a significant National Geographic project in which the photographer mainly used a Leica M? Sorry, I forgot the name, but it should not be too difficult to find out...

 

Consider getting not just one, but two bodies, just in case. I got the 'cron, mainly because I don't think I need the extra stop that much, I just use faster film or a tripod, and I used the budget to get the next lens (90mm Elmarit) -- but maybe it can get quite dark in those rain forests? Have fun with your Leica!

I started with an M6TTL (0.72) and a Summicron 50mm, and sticked to this for about 4 months before getting the next lens (35mm 'cron Asph). I can't compare to the 'lux as I've never used one, I can only say that I decided for the 'cron as I don't need the extra stop (just use faster film), and I rather wanted the "sharper" (higher definition) lens [in particular as it is cheaper and lighter as well]. Many consider the 50mm 'cron to have the best price-to-performance ratio of all Leica lenses. Well, as stated above, my experience with the other Leica 50mm lenses is limited, but I can say that I'm very happy with the performance of the Summicron, compared to all the other 50mm lenses I am or have been using. No problem with the bokeh either. It might not be the best bokeh of all Leica history, but it's well enough for me. I use the lens as an allround lens including events, portraits, landscape, architecture, travel, ... and am very happy with the results.

Obviously I can't speak for Leica Solms, just share my experience: When my M6TTL needed some service a few months ago, I was told by the shop that it would take 4-6 weeks, but then I got it back from Solms in less than 2 weeks. And it's in very good shape, with a clean VF, very accurate shutter speeds etc., and I'm also one of the more lucky persons who have to make an effort to make the RF patch flare [on an 0.72 M6TTL body].