ben_smukler

Hello, I was in exactly the same position three or four years ago, having used various Nikon F series cameras and top quality fixed focal length and zoom lenses. I mainly wanted to try the Leica M because of its reputation for excellent optics as well as build quality. There was nowhere near my location to try out a Leica, so I talked with the folks at Leica Camera in New Jersey and got some good tips.

 

I started with an M7 (new model that year), and added an MP. I began with a 35 'Lux and 50 'Lux and added a 28 and a 90 later.

 

In my case, I found the full-field view easy to use (though admittedly different), and I loved the quick, precise focus. I can easily focus better in low light than I could with any of the Nikons, including my F5. While it is true that the multiple exposure metering choices available on the Nikons are great, I find that you learn to use what you practice with. That is, my old F3 HP meters a scene very differently from the F5 (set to center-weighted). There is also a difference in "feel" (or, more precisely, "character") between the MP and the M7.

 

After lots of experimenting, and attending some workshops, I ended up with the four lenses I mentioned and two MPs. I can usually judge how the internal meter will read a scene. Also, from my workshop experience, I developed the habit of estimating exposure values first (no meter), and then checking it with a good handheld meter.

 

It certainly is a different type of photographic experience. It isn't "better" or "worse" than using quality SLR equipment. I do find that I get into a different frame of mind, walking around with Leica equipment, than when hauling around my Nikon stuff. Another point: you can easily carry a "full" Leica kit all day--something that is hard to do with heavy Nikon autofocus bodies and assorted lenses.

 

I say, forget the renting or borrowing idea, and just select one of the M-series bodies to start with, along with a good 35mm or 50mm Leica lens. I promise you won't be disappointed.

I read a suggestion in a recently-published travel photography book that you can check with the shipping companies (UPS, FedEx, etc.) and try to make sure that, if you ship your film, it will go on one of their cargo planes (unscanned) rather than as cargo on a commercial airliner (scanned like crazy). The bottom line is that the shippers will no longer promise that. You are likely to end up with lots of interesting-looking cannisters with no known use. If you really need that much film, I would suggest trying to pre-arrange bulk purchases along your route--or something similar--so that you neither have to carry that much film through the airports or risk having it fried as luggage. By the way, you can also pre-register your photo gear with Customs prior to your trip so there is no question that you owned it to begin with and are not trying to import it on the cheap.

There was a great discussion about this several months ago and, as a result, I purchased

the Billingham Hadley Pro. It has a bit more room that you presently need, but that might

be a good thing, since you might want to pick up some Leica bargains before the price

hike later this year. Actually, I added two side pockets to mine and carry all my going-to-

office stuff as well as two M bodies, three lenses, etc. I also recommend getting the

shoulder pad that goes with it.

No, I was referring to Leica dealers and the Leica distributor in the US. I don't know what the setup is elsewhere!

The cost is $149. Leica dealers send the cameras to Leica US for inspection. After a thorough inspection, the cameras are returned to the dealers with a Leica warranty, similar to the Passport that is included with new cameras. It's a great idea.

It is a unique bag, reguested by Leica. It is supposedly sold only through Leica dealers.

The Avea 3 & 5 pockets fit it, as well as a new pocket, available only through Billingham

direct, which appears to be the Avea 3 but which also says "Leica" on the tab.

I think the best answer to whether you are insane or not is this: I attended a National Geographic photo workshop a few summers ago--one in which the instructors made the rounds each morning, viewing each student's slides from the day before. The instructor kept "stealing" my Leica loupe, and threatening never to return it. It is simply excellent.

 

I think the tight fit you describe, between the two halves, is intentional, as you would not want it to come loose when using the loupe as a slide viewer (i.e., holding it up to ambient light).

I can only give you a one-sided opinion, since I only have the 1.4 ASPH. However, I have used that for two years now and find that it has become my workhorse lens. I do use it at 1.4 quite often, including for portraits indoors with minimal lighting.

 

The optical quality is simply fantastic. If there is any weight difference, I am sure it's negligible, since I'm not even aware of the weight when shooting with that lens. I should also mention that the "feel," for example using the focus ring, is also first-rate.

 

I am so impressed with the 35mm ASPH that I am on the waiting list for the new ASPH 50mm as well.

I would like to know what people think (taking Erwin's reviews into account) of the current Noctilux vs. the new Summilux. The Summilux is obviously an updated lens, and will have great sharpness at 1.4. On the other hand, the Noctilux is reputed to have excellent flare reduction and that odd shallow DOF with the abstract background. Any thoughts?

There is a table in the National Geographic Field Guide (which I don't have handy) regarding which speeds to use for which effects with falling snow. There is also an article in the December issue of Outdoor Photographer on shooting snow generally.

If you want to save some money, pick up a used Nikkor 300mm f4 non-AF. That's a $900 lens (discount price), which you should find in great condition for around $200.

Camerabooks.com (based near Santa Cruz, CA) sells it, although they are temporarily sold out.

I have the same lens and learned to "ignore" the obstruction. However, I don't think you actually need it unless you are photographing in strong sunlight and are shooting close to the direction of the sun (i.e., causing lens flare). I attended an interesting, week-long workshop a few summers ago. One of the instructors has used the M cameras for about 30 years. He doesn't use anything on the lenses--no filters, no shades (and, by the look of things, probably no lens caps!).

Not only do I reread them, but they actually change! I'm one of those people who scramble

backwards when something new arrives on the horizon, so I bought another F5 body when

the F6 was announced. Guess what? The manual has been slightly updated to include the

newer (G series) lenses. I think manual writers are underappreciated. Remember "Zen And

The Art Of Motorcycle Maintenance"? (written by a manual writer)

M7: Bottom half of Eveready case. Question: Why is the MP case different from and more

expensive than the M6/M7 case?

1. Landscape and travel; people (especially low-light).

 

2. I try to use manual, estimating the settings first and then confirming with a handheld incident meter. Otherwise, I usually use aperture priority.

 

3. My vote for a "new-to-you" Nikon would be a late model F3HP. There is a reason why it nearly outlived both the F4 and the F5: It's a great camera, with a wide assortment of accessories. It's built like a tank, of course, and will last forever. There are still "new" ones for sale (that's why it is still on Nikon USA's website), but the used price really took a dive lately. You can find a clean one on eBay for about $400.

I think the push-pull 80-200 f2.8 ED IF lenses were excellent. (I happen to have one on eBay right now, but that's beside the point). The only real difference I note between those and the current model, aside from the separate focus ring, is the tripod mount. The clean used ones go for a few hundred dollars, compared to about $800 for the new one.

I have the MP and M7 and I vaguely remember reading in the Leica literature (possibly not the manual) that one or both models do purposely have a harder detent between two of the settings. I assume it is to alert you if you are changing shutter settings without taking your eye away from the viewfinder.

I especially like the combination of the perspective effect on the sign and building with the position of the man walking toward the right edge of the frame. It looks like they ("Machine" and Man) are headed off, more or less together, into an unknown future. (And, wasn't that the truth!). Very nice photo.

 

Ben