kentigern

<p>I'd like to use my IIIa with CV 25mm f4 lens and Neopan 1600 for night-time shots of city streets, inside bars and at parties - without a flash. The main reason being that it's such a small, pocketable combination.<br>

Do you think that 1/15th or 1/30th at f4 would yield good results?</p>

<p>And another....</p><div></div>

<p>Here's the photo I wanted to share....</p><div></div>

<p><img src=" alt="" /><br>

Leica M3, Summicron 50mm, FP4+, ID-11<br>

<img src=" alt="" /></p>

<p>Try Malcolm Taylor or CRR Luton in the UK - they'll have the parts too.</p>

<p>Great story - I have one with a close serial number - 228xxx - and a Summar on it too, with the hexagonal diaphragm - and it's a great combination.<br>

I also like using it with the 15mm and 25mm screwmount lenses from Voigtlander: the viewfinder sits nicely on top and the focussing is easy at those focal lengths. They make a useful combination.</p>

<p>Tuning the question the other way around, I can't think of any cities that are <em>not</em> good for street photography. The subjects are different in Helsinki or Hanoi or Havana but they are all interesting places.<br /> The key factor has to be the diversity of the population amongst the charismatic architecture and cultural idiosyncracies of the city, therefore I'm sure there's plenty of dull mid-size towns across the world that are not so good.</p>

<p>Sounds like there are further steps to investigate before you can find the solution.<br>

The key is to identify exactly when the scratches are occuring - if they are present when you take the processed film out of the tank then it would be worth sacrificing a film by running it through the camera and then inspecting it to see if the scratches are present before development.<br>

If they are not present after development then what happens to the negatives between drying and scanning? Could the scratches be occuring in that part of the process, for example if you are putting them into storage sleeves in the meantime, or perhaps the way you are loading them into the scanner?</p>

<p>Having read a lot about this legendary film, but not having used it before I've just taken delivery of 10 rolls of KR64, with an expiry date of 02/2010. I'm very much looking forward to using it.<br>

(It's admittedly not eco-friendly as I'm in London, ordered it from 7dayshop in Guernsey, will take it on a forthcoming trip to California, then back to London to post it to Lausanne who then send it to Kansas, then back to the UK. )</p>

<p>Carl<br>

I had a Bristol for a while, sold it and with the money I've not spent on the car I have a set of Leicas and lenses. Go for the M7, you won't regret it. Use the Canon lenses then save for Leica glass as time progresses. I often use mine with the vintage lenses that I bought first and they make a lovely combination - particularly the Elmar 50/3.5.</p>

<p>I usually put mine in my handlebar bag (lens hood removed but there is enough room for it, with some padding), rather than on the rear as I think its less bumpy up front, I can keep an eye on it and it's handier to access, though of course has a weight penalty on the steering. If you are concerned, or thinking of longer journeys then perhaps it would be better in a pannier or other bag which is attached but not resting directly onto part of the bike.</p>

<p>I find the Leica M's are very under-rated with longer focal lengths and enjoy using my 75, 90 and 135mm lenses. Whilst the image in the viewfinder isn't magnified when the lens is attached, it's useful to see around the frame to help with the composure.<br>

I would encourage all Leica M owners who have not tried the longer focal lengths to give them a go - the older 90mm and 135mm lenses are about the least expensive second-hand Leica glass there is so why not experiment and find out for yourself?</p><div></div>

<p>The Zeiss 25mm is a superb lens. I have a 0.58 MP and use the entire viewfinder to frame in, though it does bring up the 28mm framelines I believe. You could always get the Voigtlander 25mm viewfinder for a lot less than the Zeiss. It's not as well made, so I understand, but it does the job just as well. I have no experience of the Elmarit, but assume it's also a decent bit of kit.</p>

HP5+ is great, but Ilford's Delta 400 in DD-X is a fantastic combination. I've had a love affair with HP5+ for many years but I am very impressed with Delta 400.

I was tired with people saying "ooh, is that a Leica" more often than I expected. Accordingly on my only black Leica, my M7, I tape over the red dot and the M7 logo. It seems to work.

I had an M6 but sold it for an M7 and am very pleased I did. The M6 is a fine camera but the M7 is a lot better in my opinion. M7's are also a bargain secondhand, there are plenty of good deals out there so shop around. Make sure you get one with the MP viewfinder.

 

As for lenses, the 35mm summicron is probably the best first lens to get - I have a v4 which is great. If you can't find one to suit, or want a new lens then the Zeiss 35mm f2.8 is reportedly excellent.

It's a lovely combination, as is Adox CHS-50 with Neofin Blue. No experence of the Jobo processor.

What wonderfully improbable clouds!

What wonderfully improbably clouds!

For a slightly odder choice, if you like grain, then a couple of rolls of SFX could provide some interesting results - although it is best with the SFX filter, I get good results with the B&W deep red.

If your friends are arts reviewers then presumably they're not on stage during the performance. That will mean photographing them during rehearsal breaks or in their seats watching the performance - that will have an impact on your choices. I'd find out a little more about exactly what you will be photographing - eg if the focus will be on them rather than the opera itself, or do they expect you to photograph the production as well?

 

Oh, and enjoy the Marriage of Figaro - it's a fabulous opera!

Well, I specifically requested some of the photos were taken on film for my ownn recent wedding. The photographer was surprised but delighted to oblige.

You could always try the route I took - instead of choosing between a new M7 or a new MP I found good secondhand ones of each (black M7 0,72 and chrome MP 0.58) and bought both for about the same price as a single brand new one. I truly have the best of both worlds and have found that I use them in roughly equal proportions.

 

I put more colour slide through the M7 to take advantage of it's more precise metering but also use it extensively with the 25mm and 15mm VC lenses where I can just pop the external viewfinder on, set it to AE, scale focus and snap away quite happily. The MP gets used more for black and white, more "arty" photos. Both are great!

Well, since I bought my Leica M kit I've hardly used my Nikon D70 dSLR at all. In the past 12 months I've probably taken over 3500 shots on film and maybe 500 with the D70. In the previous 12 months it was perhaps 1500 shots on the D70 and zero on film. Just goes to show it's a diverse world.

My 111a from 1936 has Auf <---> Zu rather than Open and Close.