paul_chan

I would have this same 'perspective' problem shooting with my 903SWC on the ground. You really need to orientate the bubble-level in the viewfinder precisely within the circular ring to obtain distortion-free pictures. In which case you'd find getting more of unwanted foreground and missing the upper portion of the architectural features. These are not cameras with shift function and there's no two ways you can go about it. Unless you carry a 6-foot aluminium folding ladder alongside your camera bag. I do find myself perched on a tree branch a few feet up to gain the required height when the opportunity permits. Obviously, this is not possible in most shooting application.

I had this same problem initially. I mounted a bay 60 UV filter with its original lensshade and removed the lenscap for the entire duration of a field trip. The lenscap is kept separately inside the camera bag just in case it is needed in unfriendly environment (sand, mud or torrential rain). Camera is taken out and placed inside camera bag without any conscious or deliberate effort to remove nor mount the lenscap. This arrangement helps me to get all 12 shots in any single roll. The filter and lenshade would go a long way to prevent accidental damage on the front glass.

Gentlemen, it has already been rightly pointed out some of these posts have gone OT. The major points had since been raised and opined thoroughly in a serious vein. Would it not be seemingly proper at this point that we all consider the subject matter closed, albeit not being any wiser?

Ernst Wildi mentioned in "The Hasselblad Manual" that the small 26mm clear glass filter must always be in place for normal usage of this lens, "without it, the quality is no longer the same". This filter is inserted to the rear of the front section of the lens. You may have missed out on this one to affect the lens performance.

So many years back I bought a M3 and used it. Then I bought a M4. Both were sold when the SLR fever got the better hold of me. Now I've bought back both the M3 and M4, in nicer condition albeit at astronomical prices than what were paid before. And top it up with an early M6. The M6 is a definite user and I'll never get to part with the M3 and M4 this time. So much for the nostalgia.

How many 21mm metal viewfinders (SBKOO) were made relative to the

total production of 21mmF3.4 Super Angulon lenses (both in their

black and silver chrome version) during 1960's-1980? And how many

recently-discontinued black plastic viewfinders (12012) were made

relative to the 21mmF2.8 Elmarit? I gather there are more lenses made

in this focal length than the viewfinders. What's the rationale for

this production disparity in the viewfinder-to-lens ratio? One seems

to find 21mm lenses more readily available than the equally-needed

viewfinder, especially SBKOO. After all, it does not make sense to

use one without the other.

I forgot to add this great website in my earlier post: www.mir.com.my/rb. It's a treasure house of useful information including general photography in Malaysia.

You'd find this is indeed a beautiful and wonderful country. Right in KL (Kuala Lumpur, the capital city) you have photo opportunities to shoot the Petronas Twin towers. They are specially attractive in the evenings when lighted up. But there's really more for photo opportunities. 120 roll colour negative films are quite readily available but b/w is rather scarce. Plenty of 4 and 5-star hotels of your choice. Getting around and language is never a problem. Weather can be hot and humid with spurts of torrential rain every now and then. You can be assuredly safe while travelling on the streets with your Hassy gear. Malaysians are reputedly warm and friendly. With the currency exchange rate of US$1=Ringgit Malaysia RM3.80, you'd find plenty of spending power with your $. Generally Nikon and Canon gear are slightly more expensive but Hassy prices are fairly attractive. Welcome and have a good time. Malaysia is "Truly Asia".

Stuart's dilemma was choosing either the LHSA Black paint M6 or the M7. Not so much whether the spare change of $2100-$2300 would be well spent or otherwise. Granted for this money you can buy all the film, a new scanner, dream vacation or a Billingham bag. That seems to be aside the point! The monetary aspect is not to be factored in deciding which of the two is a better purchase. I'd go for the black Paint M6. Indeed it's a luxurious camera to tag along for a shoot that does not guarantee any better pix otherwise taken with some other M6. But it's still one rather exclusive eye-appealing camera that exudes pride of ownership. I cannot say the same for the M7 honestly. Then again it does make sense to give it a second thought. With all that money...

How reliable is the self-winding mechanism of the 553ELX? I have an

interest on this discontinued model instead of the 503CW with the CW

Winder. The ergonomics and holding comfort is not a material

consideration. Is the spacing between exposed frames consistently

reliable and does it has any known tendency to break down over a

period of sustained usage?

These folks are out there but far and few. Giving them due credit and passing the word around is definitely appropriate. It is assuring to know such people and attending service are found and available in other countries where Leica is so widely sold and used. Not that I am expecting anything FOC - rather the old fashioned time and a place for you when one needs it most.

My friend's 1992 500CM Classic saw infrequent usage with less than

100 rolls shot over the years. On a recent shoot he realised the

rear lower half portion of the shutter curtain failed to open up

completely resulting in partially exposed frames. It was sent to our

authorised local distributor (we are in Asia) for an estimate of the

needed repair. The equivalent of US$235. Would this be a fair

estimate for what is seemingly a simple defect? Or is he better

advised to keep it as a paper weight instead?

Give some thought on the earlier Leicaflex SL. It's a pretty fine all-mechanical camera with selective in-built metering feature. They are affordable and easily available. Granted some R lenses (with R-cam only) may not be used with full metering compatibility, it is fairly reliable and easy to use. The screen is bright and the central microprism aids focussing with ease. I have never found a practical need to choose the SL2 model although it has an improved sensitive meter. I honestly believe you would not regret trying the SL over a period of time over the current R7 or R8 series.

Not as far as I am aware of. Maybe it's about time the many Leica

users (and maybe the collectors included) in Malaysia (and

neighbouring Singapore) set it up. I am sure a few of us are members

of LHSA. Granted there are several photographic clubs and societies

throughout the country but someone needs to take the initiative to

convene a forum for interested users to meet and pursue this goal.

Perhaps someone from our local appointed Leica agent, Jebsen &

Jessen can make the first move? I'm all in for it.

I am not a purist but down-to-earth passionate Leica user (just like many of us in this forum). I do not wish to split hair over center v. edge resolution nor examine my negatives or transparencies with an 8X loupe. While my 21mm Elmarit-M (pre-Asph version, Code 11134) was reported not to have carried 'the Leica badge of honor', is it sufficiently acceptable for 20" X 30" print enlargement (2:3 non-cropping 35mm format)? Given that the current 21mm Asph version is THE lens in this focal length (cost factor aside) should I shoulder an inferiority complex when I mount it on my M6 for a day's shoot? Then again the 24mm and 35mm Asph lenses are all reputed excellent lenses. Is my 21mm Elmarit-M so much inferior in general performance and does not earn a deserving place in the same league?

I sold my SWC/M with the earlier C T* lens version 5 years ago and regret every minute of it. Bought another with the CF lens version and current viewfindfer (Code 52036) at the familier auction site a month ago and start to relive again. And it's one camera I really get to enjoy using it. Am seriously thinking of getting the 903SWC if the opportunity comes around. The simplicity, all-mechanical features and a top-notch lens all add to the irresistible attraction. I've used the Horseman SW612 and Mamiya 7 but honestly feel the SWC/M (or the 903SWC) is hard to beat. For some reason you seem to feel it's just a natural extension of your eyes and arms. Do not leave home without it!

"...and would be grateful for positive (not negative) replies". I go

along with this statement. Many of us can yet take negative

statement PROVIDED it is stated constructively and in all sincerity.

If my photos posted on this site should attract some negative

statement, please do so in a gentlemanly manner. Or perhaps some of

us have forgotten we are supposed to be gentlemen in the first

place? In that case throw your tantrum somewhere else and stay away.

Let's keep this forum meaningful to sustain its very existence for

the benefit of each and every caring Leica (and related) user.

I got a quote on the Ricoh GR21 from a shop in Singapore just 3 days

back. Their best offer for a brand new item (day-date black model)

was about Sing$1400. At the present coversion rate of US$1 =

Sing$1.815, that works out to about US$770. He told me on the phone

it's a great point-and-shoot, but then most sellers would say the

same too.

When I shoot transparencies with the Hasselblad 903SWC, I usually

carry my Canon EOS with a 20mm lens to take a comparative meter

reading of the scene. Short of this inconvenience, what other less

cumbersome method is recommended to lessen my percentage of spoilt

shots due to inaccurate metering with medium to long distanced mix of

interior and landscape subjects? How should I use a handhold meter

with all those spot/average and incident/reflected reading methods

available on hand to yield satisfying results?

If your test shots were done with transparencies they should not exhibit the edge softness unless for some defect in the film plane, back cover or other inherent fault of the optical glasses. Should you encounter the problem with negative print films, the cause could be possibly traced to darkroom work imperfection, e.g. glassless negative carrier or such related misalignment of the negative with the print paper on the enlarger base. It may not be anything to do with your camera although it normally seems to be our first suspect in most cases. Shoot it again with transparencies and print films on identical subjects for comparison.

Leica came out with some limited edition black paint M bodies and lenses recently. While they appear cosmetically attractive, are they vulerable to common use compared with their black or silver chrome counterparts? More specifically, is this paint durable to withstand normal usage before showing evident wear or rub marks? Or are these models meant to be confined for display on the show cases only?

It's the 905SWC. Same lens now configured as the CFi version. I would have expected an improved viewfinder. That's not to say the current model is inadequate, but so many SWC users are hoping Hassy would add a sparkle or some other improvement on this optical attachment.

Is the current production 19mm Elmarit R (w/built-in filters) equal in performance comparatively with the 21mm Elmarit M Asph version? Aside from the cost factor, reflex and M rangefinder debate (comparing apples with oranges, so to speak), are these 2 lenses equal in terms of resolution, color rendition and overall sharpness? If you have both the R and M bodies with these 2 fine lenses, which would you prefer to use?

I believe a circular polariser is needed for an accurate TTL meter reading should you be using the PME45, PME90 or any other of the earlier meter prism series. This is specially crucial for transparencies where the exposure latitude is restrictive compared with colour print films. If you shoot with the standard waist-level finder or other non-meter prism the linear polariser would do just fine for a similar effect with a lesser cost.

I remembered having read some threads that this projector had been

discontinued. At least it does not appear to be readily available in

the current ads of B&H and other reputable dealers. Is it purely a

matter of low sales & unjustifiable economics to continue with its

production? Would parts still be readily available for present

users/owners in the years ahead? All along I was told shooting with

the Hassy and Zeiss lenses in tranparencies (unlike print films)

brings out the best in medium format.