tom leoni

<p>Jim--the turbine is fabulous.</p>

<p>I think a fast lens between 35mm and 50mm would fit the bill. I own several lenses from 35mm to 200+, and I always end up using a 50mm Elmar. Never found it wanting, also because that's what I am used to use.<br>

And this is the key. If you get used to one lens and learn to look at the world in all its things big and small through it, your photographs can only get better and better. </p>

<p>Yes. I think you do need a 50mm. I couldn't say enough good things about this length if I could hog the whole thread. Close to the perspective of the human eye. A classic default choice. Incredible versatility--from portraits to landscape. The natural fault line between "long" and "short." Availability of incredible glass at modest prices. Etc., etc.</p>

Faleh ~

 

I looked at the same 100 photos, and the bride's face appears a great number of times--12, 13, 26, 27, 37, etc., etc. As for closeups, they can be obtained with cropping, which Dawn has been busy doing for 2 days.

 

Dawn, yes, I noticed the lack of smile/expression in the groom too. He was my main inspiration for the analogy I used in my previous post. Keep your chin up, you're doing fine.

 

Tom

Dawn,

 

I have reviewed all the images, and I really have to say that you didn't have all that much to work with--dreary venue, and from the looks of it, a party that had the collective personality of a pot of boiled haddock. On top of it all, it sounds as if the bride was flaky going into the deal and flighty coming out of it. Whew. That must have been some experience!

 

What I would do is this--as someone who's worked with angry customers for years. First off, there's no real point thinking about what you could have done different.

 

Technically: mercilessly crop as many images as possible, to make everything more intimate (perhaps that's what she instinctively feels some of them are lacking?) and to eliminate where possible the vestiges of that *cough* less-than-idyllic venue. Then review these new images and pick what you think are the best ones.

 

Presentation: organize the results of the previous point in a way that tells a story.

 

Negotiation: after showing the bride a well-presented version of the above, offer her a few options as extras to ensure that she is happy. Your idea of free prints is great, you could also offer to give her a free BG posed session, or anything else (realistic) you think may be an added value to her. Bottom line--offer her an attractive but limited menu of options so she feels in control. This shows both good-will on your part and the fact that you are, as you say, a pleaser who cares about the client's happiness. But it draws a subtle line at the same time, and may distract her from going completely bonkers on you.

 

Worst thing that can happen, you give her her money back. If this is the first time it happens in 10 years as a pro wedding photographer, I think you're doing really well. ;-)

 

Hope this helps

 

Tom

Sure will, Paul, and I will post a few pics as soon as I get the camera and take it for a spin!

 

Tom

Thank you, Robert, that was a really informative post.

 

I ended up buying that Super Ikonta C with the Triotar/Klio combination--I figured that $275 wasn't too much of a gamble, especially for a recently-serviced camera in great working condition.

 

I will play around with the format, which I've been wanting to do for some time.

 

Tom

Hi, Mike ~

 

I'm talking about a Super Ikonta. You can see a "C" on ritzcam.com under "Zeiss Folding Roll Film Cameras," third from last as of this posting. Also, you can see the mention of a Klio shutter in conjunction with a Super Ikonta C in this link:

 

http://members.aol.com/dcolucci/ikonta.htm

 

The manual mentions a Klio shutter but it's vague as to its exact nature.

 

Tom

Thank you so much, Colin, for the kind and informative answer. I am only now entering the world of Zeiss folding cameras, and I want to make sure I have enough information to make informed decisions on the important things.

 

Tom

I have tried to research this topic, but had not too much luck--I hope someone

here can help me.

 

Within the Super Ikonta C lineup, what is the difference between a) the Klio

and Synchro-Compur shutters and b) the Triotar and Tessar lens? I have a sense

that pre-war/post-war manufacture (respectively) may be one of the factors.

However, I was trying to get some more technical specifications, especially

regarding the shutter (e.g. what is the shutter speed range in the two

models?).

 

Any help would be greatly appreciated. Thank you in advance.

 

Tom

"Photography," by Barbara London, Jim Stone and John Upton.

 

I have read at least another 20 reference books on photography, but I found this one to be the most thorough, complete and well-written--which is why it is the most used in my collection.

R.K.,

 

The advice everyone else gave you is fantastic. Let me just add some things that, as a quasi-beginner, have helped me *get started* solving the same dilemmas you mention (I shoot a iiia and an M3).

 

1 - Forget the exposure meter--the Sunny 16 rule suffices more than amply.

 

2 - Mount a nice 50mm lens, so you won't need an accessory viewfinder.

 

3 - Start by shooting during the day, when the sun is up. And start with a film of 400 ASA; doing so allows you to keep your aperture set at f16, which makes it a lot less critical to focus sharply on the subject.

 

4 - As far as speed, if the sun is shining, use 1/500. If the sky is cloudy, or the hour a bit later, use 1/200. If the sky is cloudy, the hour a bit later and you're shooting in the shade, use 1/100. This should get you covered for most types of outdoor shooting this time of year between 11AM and 6PM. With different lighting conditions, memorize the Sunny 16 rule and learn to have an eye for light and camera settings--believe me, if I can have it down to plus or minus a couple f/stops after 2 years, anyone can.

 

5 - At this point, it's a matter of also developing an eye for subjects, action, composition, expressions, etc. The only thing to do is shoot, shoot and shoot some more--trust your settings and then forget about them, and just use the camera to look at the world through its magic viewfinder.

 

6 - When you get confident, try also using a shallower depth of field and pre-focusing on the subject you want to shoot, than waiting until he/she does something interesting and quicly take a snap. This is fun and can yield interesting results.

 

7 - As your confidence grows, start using slower film, which demands more accurate focusing since you are more likely to have to open up your lens.

 

This is just what has worked for me, but I'm pretty happy, and I've noticed that by doing this I don't obsess about settings, which helps me stay focused on what really matters in this kind of photography--the human element of your subjects.

 

Good luck, and I hope you get the M3--it's a swell camera and a truly cool toy.

Ooops, huge file (I wish there was a way to edit).<div></div>

Kerry,

 

Having been a product manager for a luxury sporting line for a few years, I can tell you that some things are just offered by passionate people to passionate people--much against the business sense of both sides. The answer is "because." As others have remarked, the M8 is the only camera that, as of today, comes close to giving you a M look, feel and operation--and Leica must turn a profit on it, since it's not a charity outfit.

 

Paying $5k for it is another thing. I really want one. But there are other things I want more, so for now, the M8 will have to wait. As you say, if it was $1.5k, it would be a slam-dunk.

 

As for spending $3000 to get your old fiend to stay with you a few more years, I think you did the only thing a feeling person could have done. I have a 16 year old little moth-eaten fleabag of my own, and earlier this year she suddenly stopped walking. Every vet we took her to advised us that we put her down. We didn't. Now she is again her perky little self--$8k later. I could have bought virtuall 2 M8s with that money, but I am glad I didn't.

 

I am doing OK with my old camera, and I'm doing swell with my old dog.<div></div>

What Dan said.

 

When I got my first III, I too thought that trimming the leader would be an ordeal. It didn't take me more than one try or two to get really comfortable with it. Now, I just count approximately 21 sprocket-holes from the lip of the roll to the end of the leader, and cut a diagonal starting from the middle of the end of the leader.

 

Heck, if you don't like to eyeball it, just measure it the first time and then, once you find it loads well, cut yourself a template out of plastic (although, seriously, you won't need it).

 

Just make sure that a) you don't leave any sharp corners in the film and that b) you don't cut a sprocket-hole in the middle. Doing either may cause the film to improperly load or some little bits of film to fall into the camera's mechanism. When I cut the film, I do one great "swoop" followed perhaps by two quick trims to any corners I may have left too sharp.

 

When you load, make sure the side of the leader is firmly on top, against the disk of the spool--if it's lower, it may not engage the sprockets, and that you don't pull out any more leader than you need.

 

In no time, you'll be able to load it standing, with the camera upside-down in the ever-ready case that hangs off your neck. The bottom plate can go in a shirt or jacket pocket.

Luis, don't let anyone tell you that you can't turn the advance knob of a Leica III in one second or a touch less. Aside from questions of why you would want to do that, if that is your quest and your standard, yes, it can be done, and done easily, provided that you put in a little practice.

 

1 - After pressing the shutter release button with your index, shift the index to the right, so that it touches approximately the 7 o'clock position of the knurled knob (viewed from above).

 

2 - At the same time, place your thumb 180 degrees opposite your index, i.e. at 1 o'clock of the knob (viewed from above).

 

3 - Next, use both fingers at the same time to twist the knob clockwise. You will be able to do this in one fast and fluid motion, without even taking the camera away from the shooting position.

 

4 - Quickly return your index to the shutter release and shoot without jerking.

 

As others have said, this is not exactly speed shooting by modern standards, but since your goal is to turn the knob "in one second or even less," rest assured that it can be done, and easily at that. Provided that by "even less" you don't mean "a lot less."

 

Tom

What is a good way/format to have my Leica film pictures digitized by a lab

when dropping off a roll of film for development? I am about to invest in and

make the big leap into Photoshop, and want to make sure that I get files that

are sharp enough to be worth manipulating through PS.

 

For now, 8x10 would be my realistic limit (perhaps even counting some moderate

cropping).

 

Also, I'm not quite ready to go through the expense and learning curve of

scanning my own. I've browsed the forum for excellent advice on scanners, but

I'm putting off this expense for some other time.

 

For now, all my images have been digitized by Ritz with their standard photo

CD, which, ordered at the time of drop-off, only brings a modest surcharge. I

know they offer the service in different resolutions: is there a "standard"

resolution minimum that I should be asking for--without asking for files that

are unnecessarily heavy? Also, what about format--jpeg, tiff, gif...?

 

I know these questions may seem really basic to many, but if someone could

point me in the right direction--perhaps those using a similar service and

being satisfied--I'd really appreciate it.

 

Tom

Go Luis--great pics! The 5cm Elmar is my absolute favorite lens, and I'm glad it has other dedicated followers. Most of the pictures in my portfolio were also taken with a 5cm Elmar on a Leica iiia.

 

Tom

What Paul, Keith and Stuart said. After I bought my iiia with a 50mm Elmar, all my other Leica bodies and equipment sit pretty on an altar-like shelf. And the shortcomings in my pictures are due to me, not to the camera.

 

Oh, and never taken so many pictures before in my life--that thing is with me wherever I go, since it's so darn light and small it fits in a P&S belt-mounted leather pouch. The best camera is the one you have with you at the moment...

 

As far as the M, I like the M3 because of its huge, 0.9x range-viewfinder, although it does not have a bright-line frame for 35mm lenses (only 50, 90 and 135).

 

The M3 is also the most "classic" and the least expensive; a mint one can be picked up for $500-700, and you can invest what you save in a nice photographic trip and an extra lens.

 

Tom

The two cameras I use the most are a iiia with a 50mm Elmar and an M3 with a 50mm Summicron. However, between the two I ended up using the iiia much more.

 

1 - It's considerably lighter

2 - It's considerably smaller, and it fits in a modern belt-mounted digital camera bag

3 - It's extremely intuitive to use--I've virtually eliminated the need to use the separate rangefinder

4 - The squinty viewfinder doesn't bother me one bit--at the end of the day, it's what you are used to

5 - I pre-cut all my film, and loading is a snap. No, no template, I just eyeball it, but I've done it so many times that it's second nature

6 - As you say, Sunny 16 rule, when applied diligently, works wonders. I have stopped carrying an exposure meter after I learned that I was tending to overexpose my photos by one stop or thereabouts--and corrected my routine accordingly.

 

Bottom line: a good camera in your hands that you ENJOY (gasp!) using is better than a REALLY good camera in a closet at home. Because of its weight, size and how much fun it is to use, my CLA'd iiia never leaves my side, and in the space of just over a year, I shot over 2,000 pictures with it, some of which turned out pretty darn well for someone who's been taking pics for less than 2 years.

 

If I was a pro, a wildlife photog or had a constant need for quick but precise focusing, it would obviously not be my choice--but since this is not the case, Vive La iiia. Mind you, I'm not recommending this for you necessarily, since I don't know your goals--but since I've been down the "iii sounds neat, but I want to learn more" road like you, I thought I'd chime in. You can look at a few pics I posted on my PN page for the results.

Gordon,

 

Great, great stuff. Thank you so much for taking the time to post this informative and sensible review. I've been toying with the idea of buying this camera, and I was waiting to hear precisely the kind of information you gave--a real user putting the camera to the test *for what it's supposed to do.*

 

Thank you again from a soon-to-be fellow D-Lux 3 user.

 

Tom

Thank you guys. That article really electrified me, and after a couple days' worth of googling under my belt, I have found a few breadcrumbs that will hopefully turn me onto the right trail...

 

Interesting subject. On so many levels. Definitely not for the casual photog or the semi-committed.

 

Hopefully, in a few weeks (months?) I'll be posting some shots of derelict harbor cranes... or post bail.

 

Tom

All~

 

I was intrigued by an article I read on this month's issue of Popular

Photography, where Neal Matthews described some of his wonderful adventures as

an urban archaeologist. In particular, I was taken by his account of how he

photographed abandoned shipyards.

 

I know *absolutely nothing* about urban archaeology--as a matter of fact, this

article was my first exposure to it. I gather that there is a very dedicated

community that is very much in the know in this regard. So I was hoping to

have someone point me to the right direction. I have performed some web

searches, but what I found was only marginally relevant to my quest.

 

Are there any websites devoted to this fascinating subject--indicating sites,

tips, caveats, etc--perhaps even specifically about the US East Coast? I am

now dreaming of photographing abandoned shipyards, of which I know there is an

abundance around where I live (DC area), but I wouldn't know the first thing

about which one to go to, how to approach this "discipline" without goofing it

in a major way and ending up in the *really* wrong place.

 

Thanks

 

Tom

Michelle,

 

Yes, I own both the O series and the Elmar F3.5 for my other Leicas, and the two take the same exact filter and hood size. However, I do agree with Donald--any kind of filter is tremendously unpractical on the O, since every time you advance the film for a new shot you'll have to 1) remove the filter, 2) place the lenscap on, 3) advance the film, 4) remove the lenscap, and 5) reinstall the filter.

 

If, as your post suggests, you only want the filter for protection, I just suggest that you keep the camera in its everready case at all times (like you should anyway, since the strap is used to determine the correct frame size on the viewfinder), that you keep the lens capped at all times (also like you should, except of course when it's time to snap) and that you just be careful.

 

Good luck--I love my O and in spite of its little idiosyncrasies, it's a fantastic camera that helps you become a better, more "organic" photographer.

 

Tom

Michelle,

 

Yes, I own both the O series and the Elmar F3.5 for my other Leicas, and the two take the same exact filter and hood size. However, I do agree with the other poster--any kind of filter is tremendously unpractical on the O, since every time you advance the film for a new shot you'll have to 1) remove the filter, 2) place the lenscap on, 3) advance the film, 4) remove the lenscap, and 5) reinstall the filter.

 

If, as your post suggests, you only want the filter for protection, I just suggest that you keep the camera in its everready case at all times (like you should anyway, since the strap is used to determine the correct frame size on the viewfinder), that you keep the lens capped at all times (also like you should, except of course when it's time to snap) and that you just be careful.

 

Good luck--I love my O and in spite of its little idiosyncrasies, it's a fantastic camera that helps you become a better, more "organic" photographer.

 

Tom