amorteguy

<p>I bought one for my Leica when I first got into using this great rangefinder. But, idiot that I am, didn't realize that these trimmers are only needed for the older versions, not the M3s that I have.<br>

So, mine is going to list on eBay starting today if anyone wants to get one.<br>

Search this: Leica ABLON Film Trimmer (Item number: 270388200990)</p>

<p>Mark M. - I <strong>don't</strong> enter them. That was my point. Your point about the shotgun is a good one. I'll concede that. My despise of these magazine-type contests is that they just seem like such a money grab it becomes a method of creating income and not about photography.</p>

<p>Garrett - I would never kick a puppy no matter how angry I am (a photo editor maybe). However, it's hard to get the tone of my post, but it's not anger. It's disgust that these magazines are using these contests solely as a means to make money.</p>

<p>B&W Magazine is much worse than ComArt I will admit. Every "winners" issue is the same thing! I just wish they'd take a chance. Serisously, how many times do we need to see the 30-minute exposure of the dock pilings and water? Or, one of my pet peeves, Photoshop'd, over-sharpened, cartoon-like portraits of an elderly person (Nothing against pictures of our elders I assure you. It's the hyper-sharpening, digital manipulation that bugs me.)</p>

<p>Ok, both y'all - I will go out and look at this upcoming "winners" issue with a total open mind. If I find one photo that I truly like, I will pay out the cash and buy it. Better yet, I'll buy you both a copy as well and eat my hat. Well, maybe not the hat thing. but, you get me.</p>

<p>Well, they're at it again. Communication Arts has another chance to fleece suckers of their money at $30 a phøt. They basically make the cost of a subsription for every photo entered. I wouldn't have such a problem with it if the winning images were any good!</p>

<p>I looked through one of the over-priced "winners" issues; what a joke! Of course I didn't buy it. There wasn't one image in the whole things that was any good. It was a bunch of boring, dirivative, crap, absolutely horrible. And no, I'm not bitter because my images weren't selected. I refuse to enter any compitition that is so blatently created solely for financial gain of the sponsors, not the pormotion of the art of photography.</p>

<p>And yes, I have had competition experience. I entered four images in the Venice International Photography competition in Italy. Of the four I entered, one placed 4th and another placed 1st. (This last paragraph was written just to brag, lol). But, my opinion on the Communication Arts Contest is heart-felt. That goes for double for B&W magaines regular competitions. (Sorry, but I have to rant sometimes, especially when I see people getting ripped off.)</p>

<p>DAG or Sherry. The only choices. I say that having never used DAG, but I say that with experience and total confidence in Sherry. You didn't ask, but here's her info for you (or others) who need Leica assistance.<br>

~<br>

Sherry Kräuter (Golden Touch Camera Repair)<br />118 Purgatory Road<br />Campbell Hall, NY 10916<br>

~<br>

Email: repair (at) sherrykrauter.com</p>

<p>I'll jump in with whole-hearted support for Luigi. I've purchsed two of his cases for my M3s. They are not "hand-made," they are "hand-crafted" if I may make that distinction. These are of the finest craftsmanship. And yes, he is a great businessman with which to deal.</p>

<p>Oh, keep an eye on Tamarkin for their next auction (just looked and its on June 22nd)</p>

 

<a href="http://www.tamarkin.com/catalog/auction/index.html">http://www.tamarkin.com/catalog/auction/index.html</a>

<p>

I bought my first M3 and 50 Summicron DR from the through eBay Live Auctions. Tamarkin is good peoples (excuse my grammar).</p>

I've purchased 2 M3's on eBay as well as a 50 Summicron, 50 Sum DR. and a 35 Summicron (8-element original version). I never had a problem. I looked for those without blemish on the exterior which is a good indication on interior condition.

 

I immediately sent every piece away for CLA's to Sherry Krauter and they have been wonderful image makers. They have a signature that is subtle but evident.

 

My 35 Sum is great also (not the goggled version, bleh!) I have the M2 version and use a hotshoe finder. It works great! I am coninually looking for another 35 (8-el) but they are extremely hard to find. I lucked out and got a good one for just over $1k. That was a year ago and I have yet to see another ANYWHERE! for under $2k. Some Hong Kong eBayers have them, but they start at about $2400 to $3300. Not bargains!

LOL!

 

I agree! There were two shots that had interesting composition, the rest were derivative compost.

In defence of eBay: I have purchased 2 M3's, 3 Leica lenses, a Mamiya RZ67, and a Rolleiflex 2.8C all through eBay. I have never been burned and everyone I have dealt with has been honest and accomodating.

 

I may be in the minority, but I have yet to have even one (even slightly) bad experience. In most cases I paid less than I had budgeted. Now, granted things aren't always a bargin, but you set your price in your head and go after what you want.

 

One tip: RESEARCH, RESEARCH, RESEARCH! If you don't educate yourself, then you can get burned. Look at the sellers ratings also.

 

Personal note: I don't purchase from Asia (nothing specifically against that, I just haven't), but I have purchased from all over the US and from Norway (one of the M3's), and Italy.

 

Oh yeah (stay on topic), I kept my eyes open for a 2.8C because I wanted an early Rolleiflex. I found one in FANTASTIC cosmetic condition. However, because it had not been used in 30 years (hence the fantastic condition) it was gummed up. I sent it to Krikor in NJ for a CLA and a new screen. It is a great camera. After all was said and done it was a good chunk over $1k. But to me, that was worth it to get exactly what I want in an almost new condition. Was I burned in that deal? Not even slightly. I had no illusions that a 50 year old camera wasn't going to need a CLA. Also, the seller refunded $200 toward the CLA and I DIDN'T even ask him to. That's the kind of people you can find on eBay.

Ive got two DS M3s with a 35 Sum, 50 Sum, and 50 DR.

I think it's not only cheap, online stock avalability, but also the shift from what used to be a craft to an exercise in chance. I look at some examples of what is considered great photography these days and find it hard to seperate it from what we used to call lousy technique (I refrained from using my first-thought descriptor).

 

If a kid with a cellphone, shaking from too much Monster, can produce an out-of-focus, poorly framed, and seemingly pointless image that so accurately duplicates some of the "fine art" photographs of the modern era, then of course the need for "professional" photographers with "pro" fees will will go the way of the dinosaur.

 

Fortunately, tastes will inevitably change. Maybe craft and skill will see a resurgence. Let's hope so.

I've been their twice. The last time for about a month. I've spent time in Fortaleza (my favorite), Sao Paulo, Uba Tuba, Tupá, and Anapolis.

 

No matter where you end up, if you can hire a local (a fixer) for some insider help you can get some some fantastic photo ops. If you are on your own and don't speak the language you can find yourself in a tight spot if you're not careful, especially in the larger cities.

<p>The Museum of Photographic Arts in San Diego is celebrating their 25th

anniversary right now and they pulled out the absolute best from their

collection. I went this weekend, and I must say that this is the finest exhibit

of photography I have ever seen.</p>

 

<p>The exhibit is structured around John Szarkowski's (MoMA) 1966 book, "The

Photographer's Eye" (now in reprint).</p>

 

<p>If you are anywhere near San Diego, you need to come see this exhibit!</p>

 

<p>Find info here: <a

href="http://www.mopa.org/pages/exhipages/currenex.asp">MoPA</a></p>

Excellent comment David! I was just there this weekend for the opening of the new exhibit. They are celebrating their 25th anniversary right now and they pulled out the absolute best from their collection.

 

The exhibit is structured around John Szarkowski's (MoMA) 1966 book, "The Photographer's Eye" (now in reprint).

 

If you are anywhere near San Diego, you need to come see this exhibit!

I agree. I picked one up for my early M3 so I could use the 35 Summicron w/o having to buy the "eyes" version. It is a really amazing view through those little guys.

Quick thought: If you shoot RAW you may want to consider a Mac w/Aperture. I've heard good things about it's file management and RAW handling. Also, of course get Photoshop and not any of the many (lesser) imitators.

My first camera was a Kodak 110 (you could actually count the grain in the photo), then I upgraded to a Russian SLR (couldn't set the shutter speed, it randomly choose one for you because choice was not for the user.) Then I bought a Nikon and owned it for about a month and sold it for a Canon. I haven't regretted the choice all these many years later.

 

However, it really boils down to buying the camera that will work best with your style of photography.

My first camera was a Kodak Instamatic 110. It had a neg the size of your fingernail. But, it was MINE! I loved it, and when I look at those prints from elementary school, I still think they're not that bad. There was a bit of grain though - lol.

 

Then in junior high school my dad had a friend who went to Russia and traded a pair of jeans for an SLR. When you took a photo you never knew what shutter speed you'd get. I eventually took it apart to fix it - yeah right.

In the past few years (and this is after my purchase of 1D MkII) I have been shooting more film than digital. Mainly because of this; of the shots that I have taken, my favorite shots have been taken with Tri-X with my 1V. In the past 2 years I have eBay'd my way into ownership of an RZ, an M3, and an old Rolleiflex 2.8C. From many sources and readings I don't think this is such an uncommon situation.

<i>Now about my use of comments above</i>

<p>Now about my use of <i>quotes</i> above - is what I meant. Sorry. It's late.</p>

It looks like someone forgot to close the italics code above. Everything is now in italics. I'll do it here. </i></em>

 

<p>Now about my use of comments above (now way above due to the amount of discussion on this thread), I paid for this damn keyboard and I'll use "my" quotes anytime "I" want to. Even if my punctuation "stinks." "Live" with it.</p>

 

<p>My final comment on B&W is this: I like it. I use it. I prefer it. I don't have the time to lurk around this post and debate endlessly it's merits. It is interesting to see the the polarized opinions that this topic reveals. Very strong opinions these.</p>

Eugene, if you would read the thread maybe you could follow a point. My reply about HCB was in direct response to Brad's comment on 11/20.

 

As for your opinion about my comment, coming from a guy who thinks that any photo taken in the street makes you a "street" photographer, I'll chalk that up to your lack of discernment (or knowledge.)

 

Personally, I think the term "steet" photographer is rather pointless anyway, therefore I put it in quotes. Oh, and since when is photographic history (i.e., those photographers who influenced so called "street" photographers) irrelevant?

 

You referenced a photographer in your repsonse too. So, I can't? Well, I guess I just took on the wrong person here; the "man" who determines what is or what is not "a waste of time" in a thread.

B&W a clich鿠What a ridiculous statement.

 

The choice between shooting color or B&W is made on many factors. To reduce the choice to a clich頩s asinine. I shoot color, and I shoot B&W. My favorite photographers shot color and B&W. And yes, HCB shot color later in his career.

 

To debate photographic merit based upon materials used it a waste of time. And so, by the way, is looking through many of the photos posted by photographers who attempt to pass themselves off as "street" photographers on this site.

Bought it, watched it, and watched it again. It was educational to see how an experienced war (news/doc) photographer goes about his business, and heart-touching to see the images. I too was impressed by his demeanor.

I've used Sherry Krauter (Golden Touch) for my M3, my 50/f2 Summicron DR, and my 35/f2 Summicron. She is fantastic.