If you read my post from earlier in the year, you’ll see I made the decision to try out a Leica M6 in an effort to find a system camera that was more suitable for taking along with me when I travelled. After putting a bunch of films through the camera, I was quickly convinced that the Leica rangefinder was an ideal travel companion – legendary lenses, and a no nonsense camera body, which, whilst fully manual, offered enough flexibility to be able to shoot quickly and reliably. The size of the kit meant that I could slip the body and a couple of lenses into a bag, along with my laptop, in a fraction of the space that I would have required should I have chosen to travel with my Nikon gear. There was only one problem with the M6 – despite the fun of waiting for the films to be returned from the processor, and scanning the images in – it wasn’t satisfying the immediate need to see my images that I have become accustomed to whilst shooting digitally over the past 15 or so years.
So, as my interest in the Leica camera system ‘developed’, I heard that a local Leica dealer, Henny Hoogeveen in Lisse, had a Leica M-E ex-demo body in stock at a very attractive price. To cut a long story short, I was able to purchase the body in time to take with me on a trip to San Francisco for the RSA conference.
I had timed my travel so that I would have the weekend before the conference to recover from any jet lag, and spend a bit of time walking around the city. An ideal opportunity to see what the digital rangefinder would be able to do for me. The learning curve from the M6 was very slight – although the M-E is a digital body, feature wise it is very similar to the M6 in that it is very feature light – the only addition in terms of taking photos is the addition of aperture priority on the M-E in addition to the fully manual exposure mode that the M6 offers. Needless to say, both cameras are manual focus, which is quick and easy with the rangefinder.
Many street photographers choose to shoot with Leica, or other similar rangefinder cameras, as they are able to approach and photograph their subjects without getting in the way, and even if they are noticed the subject’s attention is hardly captured as the camera is very unobtrusive. Shooting with the M-E gives me a confidence that I never have with the Nikon in terms of the opportunities on the street where I will press the shutter release, rather than walking away when with a Nikon to avoid any unpleasant confrontations. With a bit of practice it’s possible to visualise what you will be seeing through the rangefinder, and prefocus and shoot from the hip if necessary. In the situations where you are noticed, a smile and a whispered thank you is normally enough to appease most people.
I took my 35mm Summarit and a 50mm Summicron with me, and wandered through the streets of San Francisco looking for opportunities. In Chinatown the local community was celebrating the start of the Chinese New Year, providing a very photo rich environment, and as always a walk along Market Street offered a number of opportunities.
San Francisco is a beautiful city, and the mixture of cultures means there is something new to discover around every corner. I walked a fair distance during my days there, and carrying the Leica over my shoulder was no strain at all due to the lightweight construction. Since acquiring the M-E I have started to take my camera with me a lot more frequently, and ultimately taken many more photographs compared to previous years.
Of course, the Leica comes at a price, and there is a lot of discussion in online forums as to whether or not the Leica is worth the money. After all, technology wise the camera is miles behind competition from the dSLR vendors such as Canon or Nikon. My Nikon D800 for example has excellent AF, and great low light capabilities – the Leica is manual focus, and starts to lose definition above around 1000 ISO. So ultimately, no, the Leica isn’t worth the price you pay if you are simply adding up features, but the Leica provides a different sort of emotion to the photographer, and a different way of shooting – after all Leica is celebrating 100 years of rangefinder cameras this year, and wouldn’t have been around for so long if they weren’t doing something right……
I’ve owned this lens now for 5 years, and have been meaning to provide a write up for a long time. I guess I just haven’t used the lens enough, for reasons I will explain during my blog, to do it full justice, but enough is enough, it’s time to write up my experiences…..
This short review is based upon the v1 lens. It has since been replaced by a v2. The main differences between v1 and v2 are the addition of Nano coating, to help reduce flair/ghosting, and VRII. The optics on both lenses are exactly the same, so I believe this review still holds a lot of relevance to those considering the purchase of this fine optic.
I bought the lens on a whim – I was traveling through Schiphol airport one afternoon, and noticed they had a rather large lens on the shelf in the electronics section of the duty free. On closer inspection I noticed it was the venerable Nikon 200mm f/2G VR lens, an optic that had been getting rave reviews and was subject of the longest thread on NikonCafe (so long in fact it had to be split into two threads to prevent the forum software from crashing) at http://www.nikoncafe.com/vforums/showthread.php?t=61674 and http://www.nikoncafe.com/vforums/showthread.php?t=261618. One thing struck me immediately about the lens – the price – it was listed for €2500 when everywhere else was selling it for over €3000 (in fact if you look for the best price today you’ll see the newer version two trading for closer to €5000).
So, thinking that I could always sell it again for what I had paid later if I didn’t like it, I bought the lens.
5 years on, this is a lens that I don’t use that often. I think the main reason I don’t use it is simply down to the size of the lens. In order to provide a f/2 maximum aperture on a 200mm lens, the front optic has to have a large diameter – around 120mm/5inches. This makes the lens big and heavy, and not something that gets chosen to go in the day bag (if you can indeed find a reasonable day bag that will fit it!). Especially when I have a 70-200mm which is a lot more flexible. It’s a great portrait lens, as it really blows the background, but the focal length means the model to photog distance is a little bit too long, so I typically resort to my other cream machine, the 85/1.4, or the 24-70/2.8 in the studio. For wildlife, the lens is a bit too short, and the 300/2.8 or 200-400/4 get chosen in favor of the 200/2.
However, the 200/2 does have a place, and it’s a nice lens to use when the opportunity arises. The autofocus is lightning fast, and combined with the f/2 aperture, it doesn’t miss a shot. So I have used this lens a number of times as a sports lens – most recently at the DNRT race days at Zandvoort, and a couple of years ago when the Giro passed through Amsterdam. With the shots of the cars in this post, I dropped my aperture to f/4, to give me a bit more depth of field tolerance for the fast moving vehicles, but with the cyclists I shot every bike at f/2, and the autofocus was dead on every time.
The lens weighs just under 3kg, so it is heavy, but it balances nicely on a pro body such as the D3, and sits nicely in the hand. Although it is a lot more comfortable to use it with a monopod, it is definitely possible to shoot hand held for extended periods of time, and the Giro shots are testament to this – I shot handheld for the whole afternoon, and didn’t feel any strain on my back.
Perhaps the biggest disadvantage of the lens though is the sheer bulk. It’s certainly not a lens that you can use inconspicuously when shooting on the street or in public for example. So it remains a very specialist lens, and one that unfortunately doesn’t see much time on my camera. But the pure quality of the images that I end up with when I do use it mean that I won’t be selling this beautiful lens without a very good reason……
I began ‘serious’ photography back at university, when digital was only just getting going. At the time I didn’t have much money, so scrimped and saved to buy myself a semi decent analogue camera kit based around the Nikon F601. I was the picture editor/photographer for the college paper, so ended up spending a fair amount in the darkroom, mostly against a deadline, getting my black and white films developed and printed for inclusion in the following issue. As time went by and I got a reasonably paying job, I was able to upgrade the film gear to a Nikon D70, one of the earlier Nikon digital cameras, and I haven’t looked back since, progressing through the various models in the Nikon family up to the D800 that I have today.
Whilst the Nikon gives truly excellent image quality, there is one thing that frequently frustrates me – carrying a D800 with one or other of the pro lenses I own is just not a compact solution. Especially when walking around on a trip with my family, the camera stays in the bag to avoid getting in the way whilst pushing the pushchair or carrying my daughter. So at the end of last year, and with an upcoming trip to Japan being planned, I decided to take a step back in terms of technological progression, and bought myself a film camera. But not just any film camera – my intention was that the chosen platform would be compact, simple, expandable, a pleasure to use, and above all something that I could slip under my jacket or into my laptop case when I want to travel light.
Of course, I could have found myself any number of digital (compact) cameras that would have fulfilled some or all of those criteria, but I wanted something a bit different. Something that would make me stop and think before pressing the shutter button, to avoid returning home with hundreds of shots and having to sort through 10 of the same shot, looking for the one with the perfect smile or ultimate sharpness in the subject’s eye. My thought was that if I only had 24 or 36 shots per roll, this wouldn’t be an issue.
Researching beforehand on the internet I realised that there was still quite a following for various film models, even though the selection of films and the number of locations to get the films developed is reducing year over year. I’d previously toyed with the idea of buying myself a Leica digital rangefinder, so, with this in mind as a potential future upgrade path, I decided to look at the Leica film rangefinder cameras as a possible solution. One of the main advantages of the Leica rangefinder platform (the M system) is that all of the lenses that have been produced for the range of Ms, from the M1 to the latest M9 or MM cameras, are backwards compatible. There’s no problem about lenses not working with the latest AF system or not being able to stop down automatically – everything in the Leica world is manual, including focus and aperture control.
Japan is a haven for secondhand Leica, at least in terms of second hand selection – one of the the store salesmen told me that many elderly Japanese had invested in Leica years ago, and were now offloading their gear to second hand camera stores on a consignment basis to get some money for retirement. My plan was to pick up both a camera and lens whilst we were in Tokyo for 5 days over Christmas, preferably on the first day, so that I could then spend the rest of the two week holiday using the camera and getting to know it. However, as luck would have it, I got a good deal on a Leica 35mm Summarit lens that I was bidding on on eBay, and picked that up a couple of days before I was due to depart from a seller in Belgium. The Summarit range of lenses are newer to the Leica range, introduced as a low cost (in Leica terms) alternative to the more expensive Summicron and Summilux lenses. It boasts a maximum aperture of f/2.5, and various Leica aficionados on the net rate them very highly, so it seemed like a sensible option. Ultimately, if I didn’t get on with the lens I would be able to sell it on to someone else for pretty much the same as I had paid, so it felt like a safe bet.
So I set off to Japan with just a lens and no camera, and a list of addresses to visit. (Actually, that’s a slight lie as I did have my Panasonic Lumix with me as a backup, but ended up not using it).
We were staying in the Shinjuku area, which is well known for it’s abundance of second hand camera shops, and, along with Ginza, is one of the better locations to head to if you are looking for something new or not so new. The evening of the day we arrived, I went for a walk around and started to look at my options.
As I mentioned earlier, Tokyo has a fine selection of (preowned) gear from all of the main camera manufacturers. Whilst the prices aren’t necessarily the lowest in the world due to the current exchange rate, this is made up for by the choice that a prospective buyer has. I had researched the various stores before hand and had an idea of where I would be going, based upon the great buyer’s guide by Bellamy at Japan Camera Hunter. I started wandering round the stores looking at row upon row of well cared for, and, in most cases, mint condition, M bodies. I already knew that I would be looking for a Leica M6 0.72x body, so that was my main target. After looking round various stores, I stumbled across Lemon Camera, and found what I was looking for – a boxed, as new condition M6, complete with the original box, strap, and paperwork. Even had the warranty card included, although this had long expired since the camera dates back to 1993. Luckily the guy in the shop spoke pretty good English, so we had a nice conversation whilst he let me test all the usual stuff when buying a second hand camera (if you’re in the market, check CameraQuest’s checklist before you buy), and I had made my decision.
Lemon Camera seems to be a really good shop and well worth a visit if you are in Tokyo. Most of the gear they sell is done so on consignment – meaning that the price is set by the owner, and then the shop adds 10-20% to the price and takes on the responsibility of selling the gear. This means that you typically receive the product with no right of return, and no warranty, although I was lucky that this particular camera was not being sold on consignment, but instead by the shop themselves. They had fully tested it and were even prepared to offer a 6 month warranty against failure (not that the older mechanical Leica’s ever seem to have problems, according to what I have read). I would never be able to use the warranty as I would be taking the camera back to the Netherlands, however it was a good piece of mind to have that the shop was prepared to stand by the condition of the camera. Lemon’s shop in Shinjuku is fairly small, but they have a much larger store in Ginza. I stopped in there later in the week, and as luck would have it was approached by the same guy who had dealt with me in Shinjuku when I purchased the M6, and he helped me choose a very nice Artisan and Artist leather half case for the camera. The Ginza store had over 20 M6 to choose from, as well as a similar number of M4, M5, and M7 bodies. Also a number of rarer lenses, such as not one but two copies of the revered Noctilux 50mm f/1.0 lens, although that is way out of my budget for now…..
My first impressions with the camera are very positive. Every aspect of the camera is a joy to use, from loading the film, to winding on in between exposures, to the flexibility that shooting with a fully manual camera provides. I found that people generally ignore me with the camera due to the discrete form factor, which is a welcome change compared to the angry stares you get if you hold a D3 with a 24-70mm in someone’s face to take their photo. I’ll certainly be writing more about my experiences with the camera in a future blog post, so, for now, stay tuned!
Due to a rather busy diary, I haven’t found much time to go out wildlife shooting this year. I managed a short trip to the Hoge Veluwe in September to catch the rut, but that was about it. So I was happy to have some free time to pop off to the Amsterdamse Waterleidingduinen this past weekend.
Around this time of the year the fallow deer at AWD are ready to start their rutting activities (Bronsttijd in dutch), and when you walk through the park you will hear the distinctive sound of their burling. Unfortunately it is often only the noise that you hear, and a lot of the deer remain out of sight in the dense woodland.
So I set out on Sunday, a little later than I had hoped, to try and find some deer willing to be photographed. The weather was clear and not cold, completely opposite to the weather forecast that had suggested the day would be a wash out, and I took a picnic along with me which I was able to eat under the trees.
As usual, walking along the concrete roads in the AWD gives very few results, save for the occasional deer running in front of you, but if you take some of the pathways through the wood, your chances of meeting a herd of deer greatly improve. The deer I ‘met’ seemed to be making a lot of noise, but didn’t seem quite ready to rut just yet. Maybe if I plan another trip over there this weekend I will be luckier. I did come away with the picture in this blog post, of a young fallow deer, which I was happy with.
When I make these trips, I prefer to be mobile on foot, so the really big lenses stay at home. This time I took my D3, the Nikkor 300mm f/2.8G VR, and mounted a tc-14e teleconverter to give me 420mm of focal length. Normally I will shoot from hand, but this time I used a monopod as the light was a bit lower. The shot posted here was shot at 1/320s @ f/4, iso1400. Just as a side note, although the deer in nature reserves are often more used to people, they are still easily startled. I always try to dress in a subdued manner (normally wearing camouflage) and stay down wind of the animals. That way I am able to sit and observe them for quite some time.