christopher_a._junker1

I'm concerned about the M3 body description. The lugs are the original triangle riveted style, the film pressure plate appears to be the framed glass and the serial number is 67,000+ lower than my M3 Double Stroke. Furthermore the shutter speed dial is the old 5,10, 25, 50, 100 rather than than the geometric 15, 30, 60, 125 speed dial. It is possible this body is an M3 Double Stroke, not a Single Stroke and if the shutter is cocked with one stroke, it was converted sometime later from DS to single stroke. So is it a DS or a SS body? For an accurate description, a confirmation of whether it is an M3 DS or SS, a shutter cocking review is needed . The type of M3 body does affect the value as some prefer one type over the other. Good luck with your research and sales, this is a nice starter Leica outfit.

To continue this project, I cooled my $20 garage sale IIIc for the same 20 minutes in sub-zero conditions without film. Neither the camera nor its 50 Elmar 3.5 have ever received a CLA. It functioned OK at room temperature, but when taken out from the cold the lens focusing mount and especially the aperture tab were very stiff. The shutter sounded OK above 1/100th, but slower speeds were uneven. I didn't try below 1/30th on the slow speed dial. Rangefinder worked OK. Cocking the shutter was stiff. After taking it back into the house and letting it warm up in its zipper case, I tried it out after 3 hours and it was pretty much the way it had been before the testing. For reference, the comments from SCL and Ed_I above should be considered before cold winter Leica camera use. To their comments I would add keep the film warm and then load just before going outside and go slow with everything you do as the camera cools. For reliability I would make the effort to keep the camera and lens warm per SCL. In closing, I further recommend that only recently CLA'd Leica cameras and lenses should be used. I also came across a reference that in the past, Leica at Rockleigh NJ would as a special service, CLA and prepare Leica bodies and lenses for extreme cold usage using special low temperature lubricants in small quantities.

I have glass slides from the early 1950's my Dad took on Kodachrome 10. There is no color fading or hue shift, the white shirt in the picture is still white. Great archival film. I still have a box of K64 in the freezer, I'm hoping for a revival.

Appreciate both comments. I let IIIg w/2.8 Elmar cool for 20 minutes @ 24f in everyready case. Opened it up and noticed no condensation or fogging in lens or rangefinder. Camera was not loaded. Focus mount and aperture ring were slightly stiffer. Set shutter @ 1/30 and tripped shutter. shutter release slightly stiff. Noticeably stiffer on recocking, so slowed down advance. Shutter speeds seemed ok above 1/30th but not happy with slow speeds. Overall, I think camera would work, but film and shutter cocking would lead to additional stiffness. Closing it back up in case, took it back inside and left it to warm back up for 30 minutes. As Leica body is mostly metal, it was still cool to touch even after 30 minutes. SCL's method makes sense; take a shot and put it back inside jacket. Any changes to shutter speed and aperture should be made with great care.

I've never shot Fuji Acros 100, is it known for wide exposure latitude? Some films are more tolerant of overexposure than underexposure, Acros may be one of them.

Winter weather hit hard in and around NW PA. I'd like to walk around outside in 10-20 degree clear weather for winter pictures, but I'm concerned about how my IIIg with f2.8 Elmar will work and don't want to damage it. It's 10 years since a body CLA and the lens was rebuilt about 7 years back. Any advice would be appreciated

There are three problem areas that have been mentioned in the above posts: film issues, possible lens problems and camera motion. The further issue of a camera repair problem need not be addressed until the film, development and camera motion issues are resolved. As discussed, the use of a fresh roll of a finer grain film carefully processed, careful operator focusing, lens closed down to the optimum f stop resolution range for a Summicron between f4 and f11 with use of a lens hood on a clean lens, f stop bracketing for correct exposure on a day absent glare sources, using as high a shutter speed as the exposure will allow to reduce or eliminate any camera motion are all techniques you can use to isolate the problem. I would further recommend use of a sturdy tripod or even a table or wall so the camera can't move. The shutter can then be triggered either by a cable release, or if none, by triggering the shutter to eliminate vibration by use of the M3's self timer shutter release. With reference to Sherry K's work, she has done both an M3 CLA and a Leica CL meter repair and body internals repair and update. She also sold me a 35 Summaron R f2.8 version 1 which is a wonderful wide angle lens. I wouldn't hesitate to send her additional work. However I hope your problems can be resolved as set forth by all the posters leading to full enjoyment of your M3.

As it may be the film and processing, try another roll of 100 or 200 ASA film with good daylight lighting. I'd still use the Summicron with a hood, but bracket shots at f4-f8 which should give you good definition and contrast together with depth of field . I further recommend use of a tripod or a solid surface, not hand held, along with higher shutter speeds and the M3 self timer.

What lens was used?

First guess it looks like pressure plate seals are shot. Suggest black electrician's tape on seams. Also, use case if you have one and try to keep camera out of sunshine if possible. There may also be a problem with the shutter.

I found that wide open the Nikon f2 85 with the M adapter is just soft enough for available light shots. Very heavy lens I also use the Canon mentioned above which is really nice as it is light. Third choices are the Elmarit 2.8 90 which I prefer to a good Elmar 90 f4. I use a 90 bright line finder for framing.

Nice one JD, the B25J is fun to photograph.

Rick's field kitchen shot again points out that the Summarit is often unfairly disparaged. This is a nice shot, scratched lens or not. f5.6 or 6.3 equivalent?

Nice shot. Lake Hartwell is especially pretty when the fog starts to rise off the water.

Your M1 close-up shots illustrate just how well built the bodies are. I too have been given a beaten up M camera. Your resurrection effort is to be commended and I think mine is worth the rebuild despite the wear, tear and dirt. It came with a 35 Summaron with both a frozen diaphragm and focus mount. A must do in 2019.

Your comments are appreciated as the Kiev has a whole different feel than a Leica LTM or M. The Nikon lens has a different focusing pitch that I am guessing matches the Leica LTM pitch rate as the Nikon lens was also made in LTM. The Kiev came with a 50 Carl Zeiss Jena f2 that lacks f stop clicks and I still need a lens hood. I'm very careful with the Kiev as Henry the Contax guru won't touch them. Very solid camera and so easy to load with the removable back.

Great series of posts on the Contax II. When I want to have some fun with old film, I'll load up my "No Name" Kiev with a Contax mount 50 Nikon 1.4 lens. Very easy to focus in low light and the setup is heavy enough for steady holding. I use it with a Softie shutter release button as my Kiev has a rough shutter release. I've been asked "what kind of Nikon is that"? Very few people have seen a Contax II let alone a Kiev like mine. I like the Nikon at 1.4 as it is good in the center, but not in the outer 2/3. Thanks Carbon for posting your Contax image series.

I shot my test photos with fuji 400 C41 wich took away a bit of the pastel effect. Wide open my results were just a little better than #2 above. Stopping down, with a tripod and even lighting, resolution improved, contrast just slightly. I'm looking forward to testing it with b/w. Corners were very low res, but better stopped down, not at all near modern but not ugly as the transition is smooth. I see it as a special purpose lens. My experience matches Carbon's comment old Summicron v. newer version.

Mauro, I like your two images, very nicely done. Please tell us more about your film, and the lens opening. The first shot appears to be wide open or f2. Did you use any post processing?

I just finished a series of test shots with a rebuilt, front element polished and rebuilt LTM version. The polished and recoated front element gave it good results stopped down, and much improved wide open. I've yet to shoot it with b/w film. Comparing pre-restoration shots with the current post rebuilt lens results made it again a nice vintage lens giving good, but not great, results.

I seem to be getting variable levels of contrast on my monitor. Did you use the same lens for all your shots? Numbers 2,3 seem to have sharper contrast than 4,5. The Chihuly glass shot is especially nice.

Sherry Krauter is the expert on CLs. If you decide to use it, ask her for the complete CLA and upgraded parts replacement. I haven't spoken to her in a while so you may wish to contact her for her advice. Mine came back from her better than when I first bought it used in the early 80s.

I found the archived answer to the above IIIf mirror question. Yes, it can be done and will restore full rangefinder functionality. Time to finally get it done.

I hope you have a sharp, clearly visible rangefinder image. My BD IIIf is in great condition except for one thing; the rangefinder no longer works as the rangefinder silvering is gone. Is it now possible to restore the rangefinder so it again functions?

Interesting to revisit this issue after so many years. I have a "No Name Kiev" Contax copy that I use with a 50 Nikkor 1.4 lens but it is more of a paperweight now. Most of my film work is done with an M3 or M4-2 when I'm shooting with a 35 or 28 focal length lens. Based on my usage, the only Contax advantages are film loading ease, accurate focusing and the 1/1250 shutter speed. Not enough to overcome the M3"s much better viewfinder and user feel.