The beast in question is the Voigtlander 15mm Ultra wide and taming it is as hard work as it is fun. If you’ve ever shot an ultra wide you’ll know what I mean and this lens is no exception, in fact when coupled with a Leica M9 it becomes even more difficult. Continue reading “GUEST COMMENTARY FROM ROBERT POOLE: THE V2 VOIGTLANDER 15MM ULTRA WIDE”
We have a YUGE Summer planned for you, giving away tons of amazing prizes building up to your chance to get your hands on a mint Leica M4 with Leica 50mm Summicron ƒ2! Continue reading “THE FIELD PHOTOGRAPHER SUMMER OF SWAG KICKS OFF JUNE 15TH!”
Sometimes you should listen to the voices in your head and sometimes you shouldn’t. Do not run with scissors in traffic. Do not befriend Nigerian royalty. Do not shave your head and climb that bell-tower. But if the voices are telling you to hang onto a particular lens, that someday you’ll figure out what it’s good for, and that someday you’ll figure out how to use it correctly, then listen. Continue reading “THE VOIGTLANDER 15MM F/4.5 SUPER-HELIAR V1”
I received the good news that Leica was fixing my Monochrome’s shutter, replacing the sensor glass, and giving the thing a general tune up. The additional good news was that it would all be free. The bad news was they estimated the repairs would take 18 to 20 weeks (and this 8 weeks after sending it in). Regardless, this gave me the green light to buy a bag for my Monochrome. I believe that every camera/camera system needs its own shoulder bag home suited to the way I use that camera. Every camera has an infrastructure that needs to be contained and organized along with items of more general utility that live in camera bags. If you use more than one type of camera and constantly swap cameras in and out of bags, then very soon you’ll find yourself trying to put a Nikon battery into a Leica or attach an M lens to an F mount or find yourself without a flashlight or pen at some critical moment. Continue reading “THE ONA BOWERY LEICA BAG”
When I bought a digital Leica I wanted a new lens to go with it. There was no question that this lens would be 50mm. I use other focal lengths (and have nothing against buying used optics) but, in this case, I wanted a new lens for the new camera. When I bought a Leica M6ttl in 2001, I briefly used an antique 50mm f/2 Summar, but was soon able to acquire well-used 50mm f/2 Summicron from the 1970s. I bought the Summar for $150 from an acquaintance and the second hand Summicron for $500 at the now sadly deceased F-Stop Camera in Akron, Ohio. That lens has served me well but, when I decided to buy the digital M-P 240, the Summicron was in for repairs. Anyway, I wanted a new lens for my new Leica and the M6 would be lonely and jealous if I confiscated its friend Summicron. I like to maintain harmony in my stable of cameras after all. Continue reading “ZEISS PLANAR ZM 50mm ƒ/2”
In the mirrorless camera world smaller, lighter and packed with buttons is the trend. But with their pro end mirrorless camera, the SL, Leica decided to provide fewer buttons and go bigger and heavier than any other mirrorless camera in the 35mm format on the market. Milled from a solid block of aluminum, featuring as few buttons as possible with no labeling on any of them and an awkward power switch, the Leica SL seems to kick to the curb any feature commonplace or desired in a mirrorless system, with one exception. The EVF. DSLR users flock to Sony or Fuji for a smaller lighter system that is packed with features but doesn’t force them to make huge compromises in quality.
Some users regret the move and some users are quite happy, but one thing they all agree on is lighter is better and they love the EVF. I even made the jump from DSLR to mirrorless in part to cut weight. So why do I now find myself using the absolute heaviest mirrorless 35mm format option out there? Because of the EVF.
More on that in a moment, lets first take a broader look at the Leica SL…
There were times when our two years in Mumbai seemed an eternity. I knew the time would pass quickly, however, that every day, strange as it was, would crossfade into the next and that sooner, rather than later, we would be headed back to the airport, boarding a flight out, and that everything undone would most likely stay undone.
I will begin this review with the conclusion: there is no better all-around camera bag than the Domke F3x. Now continue reading to find out why. Or save yourself the time and just order one. Continue reading “DOMKE F3x”
I’m sitting here watching Kong Skull Island and I notice, as any photographer would, that actress Brie Larson really looks like she’s shooting that Leica. Sure enough she is! In fact, if you watch the film almost all of what we she her do looks great! That’s because while filming director Jordan Vogt-Roberts had Brie Larson’s character carrying a real working Leica M3, with 35mm lens (it looked to be the 35/f3.5 Summaron we’re reviewing in a week or two!) and goggles. Continue reading “BRIE LARSON, PHOTOGRAPHER & FEMALE LEAD OF KONG: SKULL ISLAND”
The Nikon LTM glass, classic by any standard. But how good have they held up? This is what I set out to discover as I collected good examples of these lenses and got to work. Testing for the 35mm and 28mm was conducted on the Leica M9-Monochrome and Leica SL with Leica adaptors. I was let down by the 50/f1.4, finding it to be very soft wide open and what’s the point in having fast glass if you can’t shoot it wide open?
Get ready, there’s a lot of images in this one! Continue reading “NIKON LTM 35mm ƒ3.5 & 28mm ƒ3.5”