jsbc

(X) M-mounts - 5 PnS - 2 LTM- too many

(Y) f-mounts - 4, S-mount - 5

(z) too many including Canon.

The 5cm F2.5 Hector.

Ok, the Summar is unsharp, flares badly but what periodic lens doesn't? But it has the sharp-in-the-centre, creamy bokeh at the edges and corner Leica characteristic.

I just saw a photo of the 5cm F2.5 Hector wide-open. The bokeh is HORRID!!!! Even worse than the Noctilux swirl. I had to take two aspirins to stop my head from spinning.

Johnson

I am a great fan of the Tri-Elmar (which used to be much reviled but which seems to have gained more acceptance recently) and if I go on travel, it is a must bring lens. I think it is responsible for more than 50% of my travel shots.

That said- you don't know what you are missing if you don't own at least for wide aperture Leica lens and try out its ability in low available light. Tri-elmars usually do not make converts, that is the job for 35mm and 50mm Lux'es or Cron's.

Johnson

Ilkka:

Why would the existence fo UV rays turn the sky black? It may or may not turn it lighter, but it is hard to understand why it would turn it darker. Are there ways to effective negate this?

Johnson

To be fair Karl Yik I think Tamron/Tokina job did a marvellous job in desiging even a workable 28-300mm superzooms and make it portable etc with the aspherical elements. Of course they do not hold up to fixed focal length primes, but that's true even of their own primes. However, you are right in that the use of aspherical elements do not necessarily guarantee a sharp photo.

Johnson

Ok my answer for what it is worth...

Yes and no. I think, if you like available light shooting, or if you just carry one lens, you owe it to yourself to have AT LEAST ONE F1.4 lens for low-light, so when you need it, you won't be caught with your trousers down.

I am amazed that the 35mm lux entail no major visual sacrifice in sharpness, contrast and saturation if I shoot it wide open. I have both the 'cron and 'lux (both ASPH and the previous generation) but if I need to be assured I have the wherewithal to get the job done, I carry a 35 F1.4. Even for the Nikon I have AIS 35F1.4 manual lens, probably the only manual Nikon lens that I have. All the others are AF.

Why 35mm F1.4 as opposed to 50mm F1.4? Well, in Leica world the 35 ASPH is better. Also, think about this. Yes, you may have to step closer with a 35mm than with a 50mm, but you can handhold this at least one stop slower. Furthermore, artistically they are different. Even when light level is OK, with a 50mm F1.4 wide open, you have a normal perspective lens, with very narrow depth of field - sometimes too narrow to be useful. With a 35mm, the dof is more reasonable - ie you can get the whole face in focus, but at the same time, it yields a substantial separation from the background which is normally impossible to obtain with a wide angle. I like this effect, but it is a personal taste.

For me, the 50 F1.4 would be a luxury. In fact, although most of my shots in broad daylight are done at the 50 focal length, and I have quite a few normal Leica LTM and M-lens, I don't have a single 50 Summilux. I don't have a 50mm F1.4 for even for my Nikon SLR system (aside from the 50 F1.4 for my Nikon rangefinders because they are de facto standard equipment). For my Leica, the fastest is a Summarit, but I hardly use it.

Yep, buy the 50mm 'cron and use the money saved to buy film. Or another body. Better yet, do as I do and put it in the fund for a Noctilux (which is a special lens).

Johnson

Just to close this thread...

I asked Leica Solms about custom-made chrom M7's and they forward my email to the Hong Kong distributor.

The answer I am given is: 1) it is impossible to order your custom version 2) the chrome M7 top plate is not available as a spare part 3) The M6TTL top plate would not fit an M7.

Maybe things are different in Europe or the US, but this is the answer I'm told by the Hong Kong distributor.

Thanks Ray for your answer. It is very clear.

I think it is conducive to faster workflow - with a M6TTL, it would take a additional two or three seonds to set the shutter speed - not bad, but one would be off on the decisive moment and on street shooting.

It is funny that one can be inane with setting metered exposure if that is available - I usually shoot with a IIIf where I couldn't care less about exposure, just guesstimate. So AE has this advantage in that I would not spend time toying with shutter dial.

This is almost analogous with focusing in SLR. We can just as easily use scale focusing with the old Nikon AIS lens as with a Leica lens, but, at least I would spend the time diddling so the split image line-up.

AF and AE sometimes take away the fun, but they allow me to work faster.

Now the big problem: 0.58x Black body or 0.72x Chrome body...

Johnson

That said, it will make a difference if it affects how scratch resistant the black finish/paint is. Also I think brass marks looks quite nice, but if the corners & edges just show dull silver scratches, it is a bit unseemly.

This is all about appearance, but it has some impact on resale value.

Johnson

dpablo:

I confess I do not get the first part of your response. If the camera has a meter (ie M5 and after) then you can just read the ISO you have previously set off the back. You don't even have to fool around with a handheld meter. If the camera does not have a meter, then how can you tell?

Your second answer presumes one is shooting b&w or film with lots of latitude. If one is using slide then it's pretty hopeless if ne finds out that it's Velvia that was loaded. Secondly, if the first half a Provia 100F was shot at the correct speed, then what would you do if the second half was shot at 400? Push it one stop?

I think the best way is to rewind the roll with the film leader out and check. You may lose two or three shoots as a result, but it's the safest.

Johnson

One thing I left out in my response is control.

With the Rebel, you can use manual focus to avoid some fo the problems to which the Epic is prone. You can also control the exposure etc which is important in backlight situations. Later on, you will find that filters are also very important and the Rebel is no doubt mroe versatile.

Johnson

Go for the fast glass too! Especially as this does not require a trade-off vis-a-vis quality. Then it's available when you eventually opt for a body with a built-in range finder.

Only problem is, with C/V marketing, you have to shell out US$100 for a viewfinder once you go above 25mm. My suggestion is 1) better get a Russian turret style finder for $50 2) get the 25mm which is scale focus-anyway before the 35mm 3) use the money for the eventual RF body.

Johnson

As other say: points of consideration include:

1) weight

2) pictures your are going to take. Will you want a 35mm lens, or a 50mm, or even some flexiblity to do macro? Some zooms, like the 28-105 are quite alright. Mind you a polarizer is quite important for colors.

3) Price. Rebel plus lens is more expensive route. Easily US$250-300vs a $80 Rebel.

Suggestions include a 2nd hand SLR with lens.

Another alternative could be a posh PnS like the Ricoh GR1s or Hexar. More expensive, but would do everything that the Rebel can in a smaller package except for changing lens.

John:

Just a minor correction. It is possible to get a 50mm Aspherical - the original Noctilux F1.2. Bit expensive, but it has two aspherical elements.

Johnson

Chances are it should not have any impact on your photos, so I would not worry about it. In fact, it may even generate nauseating bokeh!. A others noted, you should feel encourage to take your lens into risky situations.

But if you decide to get it replaced, make sure you get the concave front element back (can you insist on that). You can probably auction this off at eBay and recoup part of your costs... after all, what is more alluring than selling the item as "Genuine 50mm Noctilux Glass".There are hundreds of Noctilust addicts out there...

Johnson

Ray:

One thing that I am not clear is what you mean (and others mean) by locking in the exposure. Do you lock in the shutter speed? What happens when you change the aperture with the shutter half-depressed? Does the shutter speed change accordingly - ie equivalent to what Canon/ Nikon called program shift mode? Or does the shutter speed stay constant, so instead of "point to 18% grey zone and then re-compose) I can just aim the camera at what I want to do and then open two stops because it is a back-light situation?

Johnson

Ladislav:

Indeed an excellent portfolio. Do you always use a 35mm or was the one lens policy only for this trip? I look forward to the rest of your portfolio. Please tell us when you have that online.

Johnson

Richard:

Waht is that shop in Shanghai? US$2.50 (Rmb20) for a 36"X24" print seems a very good deal. What sort of system do they use?

Johnson

What is AUTO-FOCUS?

Anyhow, I finished reading a couple of photog books a while ago. Not the Shutter-babe, but a more realistic one the Bang Bang Club which talks about PJs who risked their lives in South Africa during Apartheid and after. It seems that (1) Good photography demands the photographer to be involved - not just as a bystander. Not necessarily emotionally, but even knowing more about the subject matter makes the photo better-informed and composed (2) many photographers are dedicated, perceptive and passionate by nature, that's what's draw them into the hobby /business. Photography is an outlet for the emotions they already have.

I think all true artists need (1) a creative vision, way of thinking, that is out of the ordinary (2) an ability to execute this vision. These are the pre-requisites. Whether this unique vision spread to other aspects of their lives, well, it may. But it is the business of Hollywood to exaggerate things.

Johnson

In HK, a Bessa R2 sells for 20-25% the price of a Leica M7, a Bessa R even less. So I think that, it is a good low-cost alternative for the novice or the uninitated, since it enables you to use the lenses and take photos. Given the small price differential, I would think the R2 is a much better deal since (i) it is better built (ii) it enables you to take M-mount glasses as well. I think most people would eventually discover a focal length that they gravitate towards, and it may be worthwhile to splurge out for a top-of-the-league lens, such as the 35 Summilux etc. If you use only a Bessa R, that option is closed. I think C/V has made a mistake though, in not supporting the 28mm, given even C/V has put out two lenses in that focal length, a 1.9x and a 3.5x.

That said, I think once you have a R (or R2) and have invested in a couple of lenses, then one should get a genuine Leica as the second camera. The M-machines are best, but even a screw-mount has a certain charm. The machines probably would not change the calibre of your photos, but the tactile response is excellent and may well increase your motivation.

Not to discredit the Bessa R (R2)'s, but adding an R2 when you already have an R is excessive redundancy which does not add to the experience. And yes, if you already have a camera which enable you to take photos, it is worth the wait to save up and get a Leica.

Johnson

I apologise for the typos in the previous submission. It is the fault of poor brain-finger co-ordination, rather than an inability to spell...

Johnson

Thanks Jerry for clearing that up. I am still slightly confused as objectively I would have thought that theory 2 seems to be the right one, although the magnitude of brightness would be two small to be significant (this is because, afterall, the front lens fo the VF is still the same). For instnace, if your incidence meter gives you ar reading of F8 @ 1/250s of a particular subject. You would use this exposre value whether you are using a Noctilux or a 50F2.8 Elmar. Even if you step away and bring your moutain Elmar to bear, the exposure reading would presumably stay the same.

However, if you bring a macro-lens (one that goes beyond 1:1 magnification for instance) and taking into account the shadow you may cast) you will find that the the amount of light that strikes the lens, and eventually the film, would be lower.

On a related matter, which no one seems to be able to answer, in a .58 vs .85 debate, is the brightness and size of the rangefinder patches. Are they affected by the magnification?

Johnson

what kind of lens do you have? That may affect your choice of subjects. Personally, I have a M7 (the Mamiya one that is) and I use it for chromes due to the real estate and the Leica screw-mounts for enlargable black & white discreet shots.

Johnson