andrew_viny

<p>Youxin is a fantastic communicator and does timely work. <br /><br />Don's work on my CL was good but I really had to stay on him to keep his promised timeline (he didn't). In order to get the camera back to me in time for my absolutely drop dead last date he had to used pretty expensive shipping and he passed all of the cost on to me. He also exceeded his quoted price for the lens I sent him with out telling me despite my explicit instructions (on his requested packing slip) to inform me before performing any additional services beyond the original quote. In the end the work was good but like many others I was not impressed with the service at all.</p>

<p>Hey guys! <br /><br />I'm looking for a little wisdom about which OM body and which OM lenses are the best ones to pick up.</p> <p>BODIES<br> I understand the OM-1 is fully mechanical and thus that is my inclination.<br> I have heard the OM-2 is more reliable which seems to defy logic.</p> <p>As far as common problems, I've seen mentions of: <br />Black spots on the mirror - Are these likely just deteriorating foam? Can they be cleaned?<br> Are there any other major problems to be aware of or stay away from? </p> <p>LENSES<br> All of the bodies seem to be paired with the 50 f/1.8 but it seems like there are a number of lens options. Any recommendations as to which ones are must haves and which ones are to be avoided?</p>

<p>@David, What you say "not as special" do you mean in terms of look and feel or in how they render?<br /><br />@Ray, I would have through all mechanical cameras would certainly be more reliable than electronic ones. I haven't heard that the OM2 has a greater reputation for durability than the OM-1. Than's super interesting.</p>

<p>Thanks Ray! Yea I live in Pittsburgh right now and there's just no good place to go hold any of this stuff so it's hard to know exactly what you're getting yourself into. </p>

<p>Stephen thanks so much for the thorough response. Why do you prefer the OM-2 to the OM-1? I would think that it would be advantageous to have a mechanical shutter.</p> <p>Andrew</p>

<p>Hey guys,</p> <p>I've been an M shooter for a while now and I guess I'm just sort of curious about the R series. I've been thinking about picking up an SLR (perhaps an OM-1) and I'm just kind of curious about the R series. R3's seem to be super affordable, R6's seem to be fully mechanical which sounds reliable... idk... Anyone have any strong opinions about the R series compared to Ms or other older film SLRs?<br /><br />Best,<br> Andrew</p>

<p>Thanks everyone!<br /><br />@Edward, that was the type of info I was looking for so special thanks to you.<br /><br />The lens came yesterday. 25 shots into a 36 frame roll so I haven't seen any samples yet but the lens had some paint chips floating inside so I am planning to send it back for cleaning. The thing is a beautiful object though...</p>

<p>@Peter, I'm not going to pretend to be patient but a bigger concern is that I use a communal school darkroom and leaving your negatives over night can be a bit of a gamble.</p>

<p>@Ciaran Do you mean to say that I should be clipping both the top and bottom to something as the dry? I generally put a big heavy clip at the bottom to try to keep them taught while drying.<br /><br />@Jeff I do the same but I usually try to develop and scan same day and this is certainly not the immediate solution I need to make the same day scan easier.<br /><br />I guess I'm hoping that, through chemistry temp, or different (but equally fast) drying technique or something I could get them to just come out flatter.</p>

<p>Thanks for the responses guys. <br /><br />@Walter I will try lower heat.<br /><br />@Glen The negatives are curling sprocket to sprocket.</p>

<p>Hi guys!</p> <p>I shoot tri-x 400 @ 1600 and develop in D76. I use hypoclear and photoflow as well and dry in a heated cabinet for 20 minutes. My negatives are coming out increasingly curly and it's beginning to make scanning a real challenge. Just wondering if you guys have any tips to help get my negatives a little (or a lot) flatter. Just for comparison I also have 2 rolls of HP5 i had shot earlier this year and processed in the same chemicals and processes and they are super flat.</p> <p>Thanks!<br />Andrew</p>

<p>Hey guys,</p> <p>I just got a 50mm rigid Summicron. I'm waiting for it to arrive. In the past I had an early 50mm Elmar (2.8 version). While I'm waiting for my Summicron to arrive I'm wondering how it compares to the Elmar I so deeply regret selling a few years ago.<br /><br />What do you all think? How do these lenses compare in sharpness? Contrast? Bokeh? General character? Other factors?</p> <p>Andrew</p>

<p>It wasn't actually that much, and it was from Youxin (who by the way I've used before and trust 100%), but I had just bought a lens as well and being on a student budget, any unexpected expense can be challenging.</p> <p>Andrew</p>

<p>Thanks for the reply Spencer. I've seen those upside down tripod socket mount strap and they just look scary. Have you found yours to work well?</p> <p>Andrew</p>

<p>Hey everyone,</p> <p>I sent my M2 in for service and was told me lugs are in rough shape. If I don't want to drop my camera I need to either replace the lugs $$$ or get a strap which connects to the camera via cord or use nylon cord or brass rings in place of steel rings.<br /><br />A few questions:<br> 1. Where would one get brass brings?<br> 2. How would one securely attach nylon cord in place of rings?<br> 3. What straps do you guys like that connect via nylon cord?</p> <p>Best,<br> Andrew</p>

<p>Thank you all for the feedback! I've gone with the rigid summicron and I'm really excited to start shooting with it! <br /><br />@Christopher Junker, Why don't you use the 40mm summicron of the same vintage for your CL? That would seem to be even smaller and lighter. I've got one of those and I really do like it quite a lot.<br> Best,<br> Andrew</p>

<p>Bill, Why do you prefer the DR to the rigid version, just for the close focusing?</p> <p>James, Not sure if it's a II. All the seller told me was that they had both a rigid and DR.</p>

<p>Thanks for all the notes guys! All of these lenses are coming from trusted sources. I currently have a 40mm Rokkor with my CL. I love it but it's really kind of annoying on my M2, I find the framing hard to predict (hence the move to a 50 for that body). I will miss how small and light it is but I'm just too fed up not to move.<br> So I'm really leaning towards either the Rigid Summicron or the Summilux. Anyone have experience with both and can reflect on their preferences or the differences between the two?</p> <p>Thanks!<br> Andrew</p>

<p>Hey guys,</p> <p>I'm currently looking into getting a 50mm for my M2. I'm looking at a few Leica 50's including:</p> <p>Summilux v1 - $1500<br /> Summicron rigid - $720<br /> Summicron DR - $720<br /> Summarit 2.4 (6 bit) - $980<br /> Summarit 1.5 (ltm) - $398</p> <p>I think I'm partial to the look of the classic lenses, I used to have an old Elmar but I like that the Summarit 2.4 is so small and the fact that it's a modern lens for a similar price so I included it anyway. I like that the Summilux is the fastest but its soooo much more money though any of these are a bit of a strain on my wallet (less so for the Summarit 1.5). So I'm wondering what you guys think? <br /><br />Is there much difference between a rigid Summicron and a Summilux other than speed? <br />I know the Summarit has a distinctive look but is it perhaps a good value buy?<br /> Anyhow... excited to hear your thoughts.</p> <p>Andrew</p>

<p>I've had him service my M2. He's a real gentleman. His work is excellent, his prices are fair, and his timelines and short.</p>

<p>Hey guys!</p> <p>Been toying with the idea of getting a tiny lens to carry around on my M2. Just wondering what everyone's favorite pancake is for their Leica? I'm open to LTM lenses with adapter and third party lenses.</p> <p>Andrew</p>

<p>Thanks Gus! Really appreciate the help!</p> <p>~Andrew</p>

<p>Thanks for the prompt reply Stephen. I had read that and missed the notes about the red dot over the "correct exposure" rectangular cut out. This however still says nothing about the cutout at the top of the exposure guide. Any idea about that?</p>

<p>Hey guys!</p> <p>Just picked up a Leitz Minolta CL and it has a working meter! (I think). Kind of confused about what all the stuff going on inside the meter is and there doesn't seem to be any good documentation... Sometimes I see a red dot on the center of the meter range (over the region the needle is supposed to be at for a properly exposed image). Sometimes I see what almost looks like a second needle in the other notch at the top of the meter range. </p> <p>Can anyone offer a thorough description of what all the things in the meter do/ mean?</p> <p>Thanks!<br> Andrew</p>

<p>Moved the battery around in the compartment and it actually seems to have fixed the problem! Great suggestion! Thanks.</p>