bob in seattle

I use both the R8 and R9.

If I press hard enough on the left edge of the door, I can ear a very slight noise. Never

done this before in a quiet room listening for it, so never noticed it.

I suspect Leica designed the door and frame tolerances to allow for positive latching

without changing the shape of the door when it latches and the user releases pressure on

the door.

Not the same issue, but I did have to send my R9 in to Leica USA due to a faint light leak

through the film cassette display window. They fixed it and CLA'd the body; it's been

flawless since then.

I've had no problems whatsoever with the fit or latching of the door on either body and

have never really notice the "little noise" until I tried it, having read your post.

I'm thinking that if your're getting good negatives from the body you're good to go until

something starts showing up in your negs.

Bob

Canon G9.

I've been using a G5 (the Other Black Canon Digital Body) for three years and, despite its

shortcomings, have had some suprisingly professional exposures - at least up to 8.5 x

11 print size.

I shoot Leica R8 and 9 film for "serious, contemplative" stuff, but find the G5 to be a

handy, reliable "image recorder" for family, business, miscellaneous photography.

The new G9 is actually better; larger screen, faster processor, a bit smaller overall and

offers RAW format, opening the door to a wealth of post-processing possibilities.

It's got to be the best digicam out there under US $ 500.00.

Check it out before you decide.

Bob in Seattle

Dont' sell it. There will come a time when you will say to someone, "Damn, what was I

thinking?"

Some cameras I'd tell you to sell, but not the FM2. It's a sweetheart and does everything

you need for fabulous shots.

(I currently shoot R8 and R9 and have no intention of selling - for RF I shoot a little Contax

T2 - I'm still contemplating the purchase of and M when Time and the Essence coincide...)

Keep it!

Bob in Seattle

Doug:

I agree that Blurb may not have museum-quality papers and inks.

But the quality of your work precedes itself and, based on what I saw in our first-ever LUG

vanity publication, will translate well to those who buy and page through your new book.

Perhaps after this effort you will have the will and the time to publish a more costly book

whose size, construction, paper and ink will garner a Place Of Honor on hundreds

(thousands?) of coffee tables - and rightly so.

Best wishes,

Bob

Late winter at Pioneer Square's (Seattle) Waterfall Park. Amazing collection of waterfalls

producing quite a load roar - favorite place for private conversations. A walled retreat just

steps away from city hustle and bustle. Note cameilias blooming left background.

Downtown Seattle last summer. This guy sells a local gossip rag on the streets. I decided

to use the built in flash due to the high surrounding light levels.

I sincerely appreciate the feedback on this topic. I'll keep the T2 but I can see that I really

need to rent an M7 and see for myself. No other answer seems logical.

As requested, here are past shot froms my T2.<div></div>

I've been using a T2 for years and am amazed at how, at 38mm f 2.8, the tiny Zeiss Sonnar T* lens

competes rather well against my R Vario Elmarit 28-90 at the the same view ( 35-40mm range).

I can't see myself going away from the R8 and R9. They are my primary tools.

But (1) I've actually sold more photos taken with the T2 so maybe it's a "Rangefinder point Of View

Thing" resulting in (2) I still think about the M6 or M7 and wonder what a 35 or 40mm Leitz or Leica M

lens would do that the tiny little Sonnar 38 hasn't already done for me.

Does 38 vignette against a blue sky? Uh-huh. Is the T2's built in flash rather wussy? Uh-huh. Does

the autofocus technology screw up now and then? Uh-huh.

But I live with that and must confess it's the most robust, reliable camera I've ever owned. I've certainly

read lots of posts from happy Rollei 35 and CL users as well.

I've never used an M so have no basis for comparison. I do like the way they feel, which doens't mean

much until I use one.

So, at the same apertures ( beginning at f2.8) and view angle + or - 38mm) anybody want to tell me

what I'd actually gain in an M6 or 7?

I'm not trying to start a fight. I'd really like to know what you think about this so I can make a decision

about an M in the near future.

Thanks.

Bob in Seattle

This guy shows up in downtown Seattle in the Summer afternoons (never got his name -

he ws too busy jammin' and the light changed and I had to move on...) plays great blues

guitar. His trademark is standing on stuff; his amp, fire hydrants, other structures while

he does his thing. R9 with R=Vario Elmarit 28-90 Asph at about f8/500, Ilford XP-2 400

Super. Photoshop Elements/Mac for contrast and crop.

I can heartily endorse the Vario-elmarit 28-90 Asph which I bought new 2 years ago.

It has become my "on-camera" lens for either my R8 or R9 when I travel. I'm

especially pleased with the performance between 28 and 50mm.

I've used it for color landscape, environmental and B&W Street Photography and have been

gratified by the results.

Everything is what you'd expect from Leica; butter-smooth zoom, focus, aperture detent,

etc.

My other lens is the 70-180 APO but I must confess that I use the 28-90 75% of the time.

Regards,

Bob in Seattle

Contax III?

Could this be a Contax RTS III? If so, run down there tonight with sleeping bag and tent so

he'll have to wake you to open his shop.

A Contax R 21mm is an incredible lens; 15 elements with one floating element with some

APO glass here and there just for giggles. About US $ 2,500.00 new.

The RTS III is really a superb body, especially in the studio; ceramic film pressure plate and

vacuum film pressure for very precise image recording.

Some of us wold like to know the "for sure" identification of the camera body.

Or is it a Contax G Rangefinder? I'm thinking the 21 Biogon was for the G series, Distagon

for the R series. I had the R Distagon - paid US $ 1,500 for it as new; most amazing lens

with minmal edge distortion and depth of field to burn.

Let us know, OK?

Bob

Gentlemen:

Thanks so much for the very useful responses.

I in fact own both the 28-90 and the 70-180. I've seen Gary Todoroff's work with the 70

-180 on his Oly 330. Also with the superb Telyt 280 f4. Viewing his images has caused

me to think hard about picking up the Digilux 3 or Panny LX1 or one of the Oly kits.

The 28-90 is my "always on camera" lens. I use it on both my R8 and R9, though I usually

keep color film in the 9 and Ilford XP-2 Super in the R8.

A DMR just isn't in the cards for now. The thing I'd like to do is to keep one of the R

bodies, and add a suitable 4/3 body and retain both lenses which would give me a pretty

flexible kit.

Of course, I'd have to give up my dream of having an M in that mix. So many great

cameras, so little dough...

I think I'll take the 28-90 to the local Leica store (Glaser's in Seattle) and try the Digilux

with the 28-90 (asuming they have an adaptor in stock) and see what happens.

I sure like the DMR shots! Many thanks for taking time to reply.

Bob

Anyone out there have experience using this lens with the Panny LX-1, Digilux 3, Oly 330 on up or

other digital camera?

Please advise your experience if you will. Many thanks.

Bob in Seattle

The Contax T2 has a 38mm f2.8 fixed lens. The shutter and auto rewind are very quiet at

two or more paces from the camera when it fires.

There is no bulb setting, but there are exposure and aperture controls, as well as manual

focusing and self timer for use in reducing camera shake on a tripod.

It is is very well built (titanium alloy, synthetic sapphire shutter button and finder lens

cover, ceramic film pressure plate), smaller than the Leica M series, about the same as the

Leica CL and Nikon 35. Much smaller than any SLR.

You can also add the Contax SA-2 flash bracket which allows you to use a more powerful

flash as needed. I had one (stolen) that worked really well.

I've had mine for 8 years and will no part with it. They listed for more than US $ 800.00

when new but can be picked up for US $ 200 - $ 300 working well, more if as new or a

special (gold titanium or Anniversary or black).

Bob in Seattle

If you decide to shoot the 400, shoot it at ISO 320. Should work well for those outdoor,

candid motion shots.

And I agree with the choice of the Kodak or Fuji 160. No problem with flash; skin tones

should be spot on.

Be careful if the available light seems low; either open up your aperture or use a fill flash.

Another choice with the flash would be Kodak Gold 200. I've used it in studio and

outdoors; very forgiving print film.

Bob

Looking at the huge (US $ 500.00 dollars) price drop down from US $ 1,999.00 to

$ 1,499.99 in U.S. Best Buy stores, the Panasonic equivalent starts looking

pretty good.

Especially in that it 1) can swap lenses with the 4/3 Olympus E-500 and, with

the Leica adaptor, work with Leica R lenses (albeit with extended focal ranges)

Putting the superb DMR aside, is the Panny or Leica version the best digi DSLR

for the dough out there?

I'm told the only real differences, outside of external cosmetics between the

Leica and Panny version are:

1. Leica firmware (no one seems to be able to validate this)

2. Photoshop Elements for the Digilux, ArcSoft for the Panny

3. 3 year warranty for the Digilux, 1 year for the Panny

There may be other differences, but I'll be damned if I can tell.

Or is the better bet the Oly? Comes with TWO wide angle lenses that are

suprisingly sharp for the price point, plus (as Gary Todoroff has proven), the

Oly with a Leica R adaptor also takes R glass.

And, despite Leica's contention that the firmware in the Digilux 3 creates

a "Leica Look" to color saturation as opposed to the Panny version, couldn't

one achieve the same effect quite easily in Photoshop (Elements or CS2)?

My only weakness is that I really like the haptics of the Digilux 3 as opposed

to the Oly.

Any opinions out there?

Bob in Seattle

Same shutter as R8/9.

Speeds up to 1/8,000.

Both my R8 and 9 fire silky-smooth, time after time.

Any lag time with M8 likely is firmware driven.

Bob in Seattle

They are somewhat rare. Cosmetically desireable. Nice looking if you can get the three matching lenses.

Bob in Seattle

Nice work, Jorge - as always.

So are you back in Portland, sans R9/DMR etc.?

Also: I like Zenfolio. Price is right, I think, for the options it provides the contributor.

Regards,

Bob in Seattle

The Leica Users Group aka LUG) published a 2006 Yearbook a few months back.

Some members of this forum, including Doug Herr (and, sadly, myself) were published. This was not an archive quality coffee table book but actually turned out quite well.

At 185 pages, it encompased the passing of some respected former members, E6 and C41 color, B&W, DMR, Canon and other digital and film camera work.

It was very nicely produced and edited by Jim Shulman, a LUG stalwart, and printed online by blurb.com at locations in the US closest to those who ordered.

Rendition of the photos was actually quite well done, certainly well enough to satisfy those of us who contributed.

A similar effort by Leica Forum members on this site would produce a similarly enjoyable book at a published price well below that of a "real" photo/art book.

All it takes is a Champion like Jim to pull it together and get it off to blurb.com, Apple or any other proven resource.

Food for thought.

Oh - one more thing : probably better not ask Jim; took a fair chunk of his life for no pay - but he did a fabulous job.

Bob in Seattle

One may buy a Leica camera with the "M8 Shutter", since is uses the same shutter as in the R8 and R9.

I expect the design and engineering challenges to place that shutter assembly in the M7 were beyond common sense and cost limits.

I agree that an "M7.5" with the R8/9 shutter might have made an even sweeter M...

Bob in Seattle

Check also the Film Window (which displays the film cassete). These windows can let light through when the window becomes losse or the insulation surrounding the fitting decays.

On some cameras, the entire door assemply must be replaced. My R9's door was replaced free of charge by Leica USA last year.

Exposed film looked almost identical to your example.

Bob in Seattle

Having cruised to Alaska with a Contax RX and lenses fro 21mm to 300 f4, I can tell you that no lens will be "too long". Do bring a tripod, as light can change due to mist, fog or sudden cloud cover.

I shot mostly Kodak Gold 200.

In my little Contax T2, I shot Gold 400 for people shots on the ship or in town, and a roll of Kodak E100 slide film for the trip back in sunny weather.

If you only carry one camera, bring the SLR and a least one long lens.

300mm was often too short for some shots, as it turned out.

Bob in Seattle

You CAN manually focus the Contaxt T2; the focus wheel is on the top of the body (also on/off switch). It's function is similar to the Focus Confirmation feature on the Contax RX SLR.

As you turn the wheel, a green light will come on to confirm focus. My experience with both cameras is that this feature is quite reliable.

Never had a battery go out on me, so can't confirm/refute losing balance of roll on a battery failure.

I do like the little button on the bottom plate that allows you do do an "early rewind" if you are done shooting a roll and don't want to go to the end in order to rewind.

Bob

If you can find one, a Contax T2, second choice would be the T3.

Small, robust (titanium body, synthetic sapphire shutter button, ceramic pressure plate), nice looking, very reliable. The Zeiss T* 38mm f2.8 lens captures amazing images, especially if they are taken outdoors (typical wussy built in P&S Flash).

There is also a Contax SA-1 adaptor that allows a larger flash for wedding, birthdays or other light-starved indoor events.

Email me and I'll send you a couple of examples of what this tiny gem can do.

Bob In Seattle (yes, it is raining, again...)