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The film

Saturday, August 8th, 2009 by

The final item1 needed for the Leica Lessons project is a film, a black and white film to be exact.

I wanted to use a 400 ASA film, which I’ve found is a nice all-round speed. I also wanted to use a `real’ B&W film, as opposed to a chromogenic film. In this speed, 5 types are well available to me: Kodak T-Max, Kodak Tri-X, Ilford Delta, Ilford HP5 and Fuji Neopan.

As I have absolutely no experience with B&W film, I decided to to a comparison. My demands for the final film:

  • Good detail
  • Not too grainy
  • Capable of being pushed to 1600 ASA2

For the comparison, I got two rolls of each, and shot a collection of scenes on each of them. One roll at 400 ASA, the other at 1600. I also bracketed each scene at +1 and -1 stop.

I’ll post the resulting pictures here in the near future, but the short of the story is: I didn’t see enough difference to base a valid choice on.

Since I didn’t have any real preference, a final deciding factor came into play: price. Thanks to the wonderful website Fujilab.co.uk, I can get all Fuji films in bulk, and at less than half the price I pay for other brands through normal retailers. As I have good experience with Fuji for my other films and didn’t dislike Neopan in the test shots I decided to just take the easy way out, and use Neopan 400 for my `one film’.


With that, the set is complete: Leica M3, 50mm Summicron collapsible and Fuji Neopan 400, my choice of photographic equipment for the upcoming year.

  1. Or more specifically, going at an average of 2 rolls a week, at least 100 items. []
  2. For those tricky indoor tungsten shots, and those times I lose my sanity and decide to do sports-photography with a rangefinder. []

Ducks in evening mist

Friday, August 7th, 2009 by


In between all the gear-talk, time for a real picture.

I shot this late in the evening after a hot day. The water was cooling rapidly, casting a fine mist, and the setting sun gave it a warm glow.

Technical details

Shot with my Canon 400D, using an old manual-focus, T2-mount 500mm f8.0 lens, branded Sunagor. I might even have had a 2x extender in there as well, I can’t remember. This is a glass lens, not a mirror lens, and wide open it’s pretty soft, as you can see. Still, it was only 1% of the price of a Canon 500mm1.

Why I like it

The softness of the lens, combined with the mist and distance combine for painting-like effect. As someone who usually strives for sharpness, I’m honestly surprised. I guess it pays to experiment.

  1. Though I doubled the price by adding a Wimberley lens plate to it. Tripods, wonderful things. []

The lens

Thursday, August 6th, 2009 by

In addition to a camera, I also needed a lens for the Leica Lessons project. In the rules I specified this had to be a Leica lens, and as I mentioned yesterday, I’ll be using a 50mm lens.

That still leaves a lot of options.

A site that was of much value to me was this one, which list pretty much all M lenses ever made.

With mount and focal length set, one parameter left was the maximum aperture. I’ve always had good experience with the `slightly slower’ fifty, the model just below the f1.4 mainstream lens, like my Canon 50mm f1.8 or my Pentax 50mm f1.7, which strike a nice bargain between light, size/weight, image quality and price. The Leica equivalent here is the fabled Summicron.

Vain as I am, I preferred a chrome lens to go with my chrome body1. I also wanted a compact lens (one of the reasons I went for a Summicron over a Summilux).

My fondness of flower photography first had me looking seriously at the DR Summicron, but in the end I decided against that for several reasons2:

  1. It’s too good. It’s often hailed as the best Leica 50mm. I felt using the best of the best contravenes the spirit of the project.
  2. It’s complex. The dual range aspect of the lens practically turns it into two lenses. As the assignment says one lens, that feels like cheating.
  3. It’s expensive. The high quality of the lens make good copies highly sought-after.
  4. It’s big. As I have to carry the camera everywhere, I wanted something compact. The DR is the biggest 50mm Summicron to date.

This led me back to a series of lenses that intrigued me even before I learned more about Leica lenses: Collapsible lenses. As an SLR shooter, this concept has always seemed genius to me: The ability to simply slide the lens back into the body of the camera, giving a near-flat package for transport.

Looking around, these are considered good, if slightly dated lenses, and available for reasonable prices as well. So here she is:

Leica lens 1192418, build in Wertzlar in 1954. Unlike the camera, I got this from a seller in the States, so I did get to pay a nice customs premium, but it’s in excellent condition, and came with original front and back caps3. Only downside of the American heritage is the fact that the distance scale is in feet instead of meters. However, I was always pretty good in guestimating distances in feet when I played (British) table-top games, so I don’t think it’ll really matter in the end.

  1. Although I didn’t have the body yet when shopping for lenses, I was pretty sure the collectors’ premium on a black M3 would be pretty pointless, and out of my target price range. []
  2. Should, during the coming year, the lack of close-focus ability become too big a bother, I can always look around for a SOMKY adapter []
  3. Interestingly enough, the ad specified it only came with a rear cap. After I bought the lens, when it was still in transit, I contacted the seller if it really didn’t come with a front cap, since I was shopping for a lens hood and matching cap. The seller confirmed it didn’t come with one, yet when it arrived, there most definitely was a front cap on it. I’m not complaining though. []

The camera

Wednesday, August 5th, 2009 by

Of course, to do the Leica Lessons project, I needed a Leica film rangefinder.

As I had no Leica camera, nor a rangefinder camera, I was completely free in my choice, so the first thing I did was dive into Wikipedia and find out what choices I had.

I then went over my requirements, and started scratching off options that didn’t fit:

Film
That leaves out the M8.
Leica rangefinder
No CL, which is not a Leica1 and no M1, which has no rangefinder.
Cheap
Scratch the M7, the MP, and possibly the M6
No meter
Anything from the M5 on is out.

That left the M3, M2 and M4.

After I then decided that my One Lens2 would be a 50mm, the choice became pretty easy. After all, only one camera had a perfect for 50mm 0.92x viewfinder magnification: The Leica M3.

To Ebay!


And here she3 is: Leica M3 number 1067131, made in Wetzlar, Germany in 1963, she’s nearly 20 years my senior.

The reasons I went for this one:

  • She had been CLA‘d just before sale.
  • She’s a bit beaten up (there’s a nice big dent next to the rewind knob, for example), which meant she was of no interest to collectors, keeping the price down4.
  • She’s one of the later models, with a single-stroke advance lever and the less fragile metal pressure plate. Both things I consider preferable in a camera bought for shooting, as opposed to antiquity value (made it cheaper again).
  • The seller was located in the Netherlands (like me), which prevented excess shipping costs and risks.
  1. If you’re using a Leica, you might as well behave like a Leica Man. []
  2. To rule them all. []
  3. All cameras are female of course: Expensive, incomprehensible and if you push the wrong buttons, things will look dark for you. []
  4. I don’t care, I have a tendency to damage my cameras just so I can stop worrying about damaging them. []

Back!

Monday, August 3rd, 2009 by

Just a quick note that I’m back from holiday, which was the reason for the sudden month of silence. I have a lot in the pipeline, like the final preparations for the Leica Lessons project, and pictures from the wedding I shot just before my vacation.

More to follow soon!

GSOTPANWASTOTZSS

Tuesday, June 30th, 2009 by

One of the reasons I choose to do this project/training/exercise, is that it combines nicely with another exercise set out by Mike Johnston (years) earlier: GSOTPANWASTOTZSS1. Being able to guess exposure is a skill that’s always allured to me.

This is one of those skills that I think will be incredibly useful, even if you’re using a top-of-the-line, auto-everything DSLR body. Knowing when to apply exposure compensation, selecting you base exposure when shooting TTL flash, there are plenty of aspects that will yield better results if the photographer knows what he’s doing.

It’s also an incredibly cool thing to be able to do2.

Unfortunately, this will make the exercise just a bit harder, as in addition to using a rangefinder for the first time and shooting dedicated B&W for the first time, I’ll have only the sunny sixteen rule and my knowledge of fluorescent-lit swimming pools to guide me in getting a proper exposure.

I guess Yoda was right: “You must unlearn what you have learned”.

Another rule should thus be added to the earlier post: No exposure meters of any kind.

  1. I’m still working on memorizing that one. []
  2. To me that is. Some people may prefer owning a larger telephoto. []

Slate & leaves

Thursday, June 25th, 2009 by

This slate rock wall has been slowly sliding down over the years, with the loose slates mixing in with the old leaves and broken branches near the side of the road. Kautenbach, Germany, spring 2009.

Technical details

Shot on Velvia 100, with Canon 30 and Canon 17-40mm. Tripod was down to ground level and composed using an Angle Finder B.

Why I like it

The nice play of the black slate, the remaining red autumn leaves and the fresh green spring shoots. I also love this kind of wide-angle trickery, the rock wall in the read is in fact just four or five feet away from the front of the picture.

(Click on the image to see a larger version)

Flowers

Tuesday, June 23rd, 2009 by

Another subject I like to photograph is flowers1. Catching the intricate detail and the magnificent colours on Velvia is a very relaxing experience in my opinion, and a good way to waste a day when on holiday in spring.

Please note that I am not a biologist, and have no clue whatsoever what kind of flower this is, nor do I really care2.

Technical details

Shot on Velvia 100, with Canon 30 and Olympus 50mm 1.8 on Panagor Macro converter3.

Interesting tidbit: Camera was upside down beneath my tripod to take this one4. That’s why a good tripod matters, it gets you into corners that would be impossible without.

Why I like it

Nothing special, just came out the way I envisioned it.

(Click on the image to see a larger version)

  1. As another weblogger likes to call it: Flower pr0n! []
  2. As the Bard wrote: Would a rose, by any other name, (or its own name for that matter) smell any less sweet? []
  3. Spending a day on holiday with this (borrowed) combination led me to buying the Canon 50mm macro and LSC. []
  4. This is actually the first photo on this site shot with a tripod. I finally did justice to the name! []

The rules

Monday, June 22nd, 2009 by

In this post I’ll set out the rules for the Leica Lessons year. Defining those areas Mike’s original suggestion left open for interpretation. If anyone wants to comment, feel free.

During the period of one year beginning on August 10th, 2009 and ending on the same date in 2010, I’ll only use
– One camera, which must be a Leica rangefinder.
– One lens, of fixed focal length1.
– One type of black & white negative film2

I’m giving myself one escape clause: Should it happen during the year, that someone asks me to take pictures for them for a special event in their life, I can do so with the equipment they consider most reliable to allow me to take good pictures. The key here is that the event has to be important to the other person, not necessarily to me (so if one week into the exercise, I get back-stage tickets to a Genesis reunion concert, I just better bring lots of film and do the best I can). I’m setting this opening because this has happened twice to me (once a funeral, once a wedding). Should this occur, I’ll let the person asking decide whether to trust me or several thousand Euro’s worth of Canon equipment3.

Why August? (Relatively) simple: When I decided to do this project, I did not own a Leica, so starting straight away would be a tad tricky. Furthermore, I am shooting a good friend’s wedding in July, who is counting on more than the badly exposed B&W shot’s I’ll undoubtly be making for the first few months of this exercise4. Why the 10th? It’s my birthday, so easy to remember.
The two months in between will give me the time needed for selecting and buying a Leica with matching lens, get some filters, as well as selecting a film, learning to load it5, etc.

  1. Though not specified by Mike, I’ll define that the lens must also be a Leica. []
  2. Again, as not strictly specified, I have decided to allow myself the luxury of pushing/pulling it. []
  3. I fear I know the answer. []
  4. More on that soon []
  5. Which appears to be an artform all by itself []

Backstroke

Friday, June 19th, 2009 by

One of my favourite subjects is swimming. It’s also one of the subjects I’m, at the risk of sounding conceited, actually quite good at, probably by virtue of having practised the sport myself for the better part of my life.

One thing that never gets old is the look of the water-droplets frozen in time, always different, like a small rain of diamonds1.

Technical details

Canon 400D with 135mm lens. F2.8, 1/3200 at ISO 100. Fill flash at -2 FEC.

Why I like it

How the water forms a nearly cartoonish `swish’ to illustrate the motion of the arm, while the rest of the picture is dead-still

(Click on the image to see a larger version)

  1. Poetic enough? []