buzz_andersen

I have a late model 50mm Summicron of the previous

generation (the one with a removable lens shade) that I picked

up for pretty cheap. While I can't compare it to the newer version

(because I've never owned one) I must say that my lens seems

to be incredibly sharp and contrasty--often noticably more so

than my 35mm Summicron ASPH, for example. For the

difference in price between what I paid and what you would pay

for a brand new one, I would stick with the previous generation--it

is still an incredible piece of glass!

I'm 23, and very much a dedicated Leica user. For awhile I was

really on the digicam/technology treadmill (being a techie by

vocation and disposition), but it just so happened that, on a trip

through the UK last summer, I left my Nikon digicam in an

Edinburgh taxi never to be seen again. For some reason, after I

came home and collected my insurance money, I decided to go

in the complete opposite direction: instead of replacing my old

camera with the latest greatest technological marvel, I got an M6

with a 35mm Summicron. That turned out to be one of the better

decisions I've ever made...

<p>

For me, the appeal of the M6 is exactly what people like David

Alan Harvey say it is: it reduces the process of taking pictures to

a few simple actions and allows the photographer to concentrate

on capturing the "defining moment" rather than on what metering

mode the camera is in or what all the menu options do. It is also

comforting to know (as Al points out) that my M6 will never

require me to worry about such things as firmware updates,

system errors, and planned obsolescence. My Leica is one of

the few things I own that I can actually envision using for the rest

of my life!

The reason they don't show anyone handling the S1 is that it is

really aimed at people doing copy work and studio stuff (product

shots, etc.). The reason for the hoops is that it is designed to be

mounted on a copy stand, not hand-held. At any rate, it is a long

way from the "digital M" we have been pining for in this thread.

Oh...sorry. Here's a clickable version of that link:

<p>

<a

href="http://www.dpreview.com/news/9909/99090501siliconfilm.

asp">http://www.dpreview.com/news/9909/99090501siliconfilm.

asp</a>

There is already a company out there working on basically the

same thing you are suggesting. They used to be called Imagek,

but they recently changed their name to Silicon Film. Their

product is a little device that fits into the space inside the camera

where you normally put your 35mm film.

<p>

Until recently many people believed this product to be vaporware,

but now it looks like it may be getting close to release. The only

real huge problems with it seem to be that, first, it only does 1.3

megapixel images; and second, it is only intended to work with

the Nikon F, Canon EOS, etc. (whether this would actually

preclude other cameras, I don't know).

<p>

Anyway, here's an article:

<p>

http://www.dpreview.com/news/9909/99090501siliconfilm.asp

<p>

Buzz

This is an area of considerable interest to me. In the photo

department at my school, I know several people who seem to

truly think that inkjet output is now about as good as chemical

prints. Having seen the actual prints they have produced,

though, I'm inclined to say that I can see a difference (although

it's certainly possible that those results are not representative of

what is truly achievable--I don't know enough about the process

yet).

<p>

The one digital output technology that really *does* knock my

socks of is Giclee--I can easily see that process becoming the

standard way to distribute fine art prints in the future. My aunt,

who paints watercolors, had some copy work done by a guy who

took large format transparencies of her work, scanned them, and

then output via Giclee onto large sheets of fiber paper. The

results are awe-inspiring, and I can imagine the process

producing beautiful Ansel Adams-like photographic prints!

<p>

As someone with a penchant for taking pictures under difficult

lighting conditions, though, I would probably say the most

attractive thing about the digital darkroom is not the output

technology, but rather the input technology. Good film scanners

(like the Nikon LS-2000) have an ability to read detail into

shadows that no photographic paper can ematch, and that

means an end to one of my biggest frustrations in chemical

darkroom work!!

Jerry,

I like both your photography and your website. The design

(large, aphoristic phrases accompanying a photo montage)

really reminds me of Marshall McLuhan's books.

<p>

Unfortunately I don't have anything to contribute to the Noctilux

discussion, but I hope to as soon as my bank account allows :-).

<p>

Buzz

I'm new to the Leica M6, but unfortunately I can already contribute

more than my fair share of film loading/unloading disasters.

Just last weekend, for example, I was shooting my friend's band

playing live. I took a couple of rolls worth of pictures and then

loaded a third. I shot this roll, but was a little concerned when I

got up into the 40's on the exposure counter and the advance

lever just kept going. Being new to the M6, however, I didn't know

that this meant the film was not advancing, so I freaked out and

just rewound the film!

<p>

Later, I developed all three rolls. The first two came out great,

but the third emerged from the tank with nothing on the film but

the familiar "Kodak TMZ" markings--a telltale sign that the film

had been developed correctly but that it had never been exposed

in the camera. I guess that explained why the fixer looked so

weird when I poured it out: I wasn't just taking some of the silver

off of the film--I was taking all of it off!

<p>

Oh well, I learned my lesson: always watch that rewind crank to

make sure it's turning when you advance!

<p>

Buzz

Thanks--that seems to have done the trick! I appreciate your

help...

<p>

Buzz

Hi,

Just today I started noticing a phenomenon with my 35mm

Summicron ASPH that I've never experienced before. All of the

sudden, when I move the focus ring on the lens, I notice what

seems like a lot of tension making it harder to move. It's not

impossible or anything--it just doesn't have the same smooth

glide it did last time I used it (about a week ago). I know that this

can happen with older lenses (I have a previous generation

50mm Summicron that has a little bit of that), but I have only had

this lens since August, and the problem seems to have

happened out of the blue! Does anyone know what could have

caused this? Should I send this lens in for service? Is there a

quick fix--is there a fix at all? Any help you knowledgable people

could offer would be greatly appreciated!

<p>

Thanks much!

<p>

Buzz