Category Archives: Leica

All about the wonderful cameras from Wetzlar.

Leica M3

Cameras, Film, Leica

A reunion.

For an index of all Leica-related articles click here.

I have been patiently building a small collection of classic photography hardware in my home theater, the emphasis being on cameras which were revolutionary in the way they changed the medium. Further, electronics are anathema to this collection which focuses on the great machines of the mechanical age.

If there is one 20th century camera which rules it has to be the Nikon F, the first bullet proof single lens reflex camera which, incidentally, can claim to have ended the Viet Nam war. Most of the searing images from the front lines of that conflict were made on the Nikon F which became de rigeur hardware for any aspiring photojournalist. The Nikon came along in 1959 along with a large range of fine lenses, but 5 years earlier 1954 saw an introduction almost as significant, in the guise of the Leica M3.

The screw mount Leicas with their poor ergonomics, unchanged since the 1930s, were suddenly a thing of the past.


Clunky with poor ergonomics –
the Leica IIIF predecessor to the M3.

Gone were the dual shutter speed dials, replaced with a single dial with equally spaced click stops. Gone was the slow and fussy screw mount for lenses, replaced with a robust and long wearing bayonet mount. Gone was the slow and clumsy knob used to advance the film, replaced with a beautifully ergonomically engineered advance lever. Gone was the antediluvian film loading system which dictated a long leader on your emulsion of choice to allow insertion from the baseplate past the twin sprockets. An opening film back made things far easier. Gone was the need to manually reset the film counter for every new roll, for the M3’s counter reset automatically to minus 2 when the take-up spool was removed.


The opening film back greatly simplified reloading.

But, most importantly, the masterstroke of the Leica M3 was the superb combined rangefinder/viewfinder. No more did the user have to focus through one peephole and compose through another. And the latter really was a peephole, one of the worst viewfinders in any camera. Now the generously sized rangefinder patch appeared in the center of the large and very bright viewfinder and, unlike the contemporary Zeiss Ikon Contax IIa, the edges of the rangefinder patch were perfectly sharp allowing for alignment focusing as well as coincident use. A masterstroke, and still to be found on today’s ridiculously priced digital Leica M11 and variants. 80 years and counting testify to the exceptional design. And not only was that combined rangefinder/viewfinder big and bright, it would automatically show the correct frame lines for 90mm and 135mm lenses when they were fitted. And the icing on the cake was that the finder was automatically parallax compensated, the frames moving diagonally down to the right as the lens was racked out.


A masterstroke – the fine M3 finder.
In this snap the 135mm frame appears inside the 50mm one.

As there was no built in light meter Leitz provided a coupling selenium cell version which slid into the accessory shoe and coupled with the shutter speed dial. All you had to do was note the aperture reading indicated by the needle and transfer that to the lens, which was as fast as exposure measurement got before the days of automation. It worked well and I used that slip on selenium meter, which needed no battery, for 35 years. It never let me down.


The Leicameter MC.

You can read more about Leicameters here.

Above all, along with all these functional improvements, the Leica M3 was – and remains to this day – beautiful to behold. And to hold and operate it was a dream, everything in the right place with a wonderful feel of solidity. The M3 was reliable as long as you sent it for a good cleaning and lubrication every decade or so. This, after all, was no Nikon F when it came to brute robustness, but it was no shrinking violet either, being tough and dependable. Whack the body and the rangefinder might go out of alignment but even the home klutz can realign things with two provided screws. Ask me how I know. During its 12 year run Leitz made almost a quarter million M3 bodies. Compare that with the Nikon’s 15 year run through 1974, during which time Nippon Kogaku churned out 4 times as many Nikon Fs. No, the F did not need service every decade.

The M3 was my first ‘serious’ camera bought after three years of scrimping and saving in 1971 when I was 20, and was my ‘go to’ camera for the next 35 years. It was finally sold in 2006 when the Canon 5D full frame DSLR came along. Yet, truth be told, I never quite got over that sale, which bowed to my vow not to own anything I was not using. Well, that vow has been broken with the arrival of my home theater collection and finally a Leica M3, the last addition, has joined the other classics on display.

These include:

  • The Minox B spy camera of the 007 Cold War generation
  • The Contax IIa similar to the one Capa took to Omaha Beach on D Day
  • A Nikon F of course
  • The Rolleiflex 2.8D which every fashion maven was using in the 1950s
  • A Bolex H16 movie camera on which Spielberg cut his teeth
  • A Calumet/Cambo monorail studio camera which takes 5″ x 4″ sheet film, much loved by the Hollywood glamor photographers of the early days of the talkies
  • Classic Leitz, Linhof and Gandolfi tripods, the latter over a century old

Not a microchip, sensor or battery to be found in the lot.

The Leica M3 had a long life, being made through 1966, and while there were minor variations, it was largely unchanged during those 12 years of production. Early models had a two stroke lever wind as Leitz wrongly believed that a rapid single stroke would tear the film’s sprockets, or maybe cause electrostatic sparking and fogging. Choose which version you like, but I tend to the sparking story as early models had a glass pressure plate, eventually replaced by a conventional – and conductive – metal one, which worked every bit as well. Or better. Somewhere in early production the film transport gears were switched from soft brass to steel, conferring harder wearing properties. Some nuts claim that the earlier brass gears were smoother to which all I can say is …. nuts. About the same time the strap eyelets were moved from the side of the top plate to the front of the body, making for a better balanced whole with a more elegant design.

Early shutter speed progression was the non-linear 1/2, 1/5, 1/10, 1/25 etc. one, later replaced by that in use by every other maker, 1/2, 1/4, 1/8, 1/15, 1/30 and so on. Sometime around 1958 the rangefinder rectangle sprouted two protruding rectangles top and bottom which approximated the depth of field at f/16 and f/5.6 with the 50mm lens if the misaligned coincident images fell within their breadth. Hmmm. A solution looking for a problem.

While all M3s appeared to come with the front panel self timer lever, early models did not include the frame preview lever which allowed previewing of the 90mm and 135mm fields of view if neither of those lenses was fitted. The thicker 50mm frame lines were visible regardless of the lens fitted and if a 35mm optic was your thing Leitz provided one with auxiliary ‘goggles’ which made the 50mm frame show the wider field of view. A tad clunky but it worked for me for over three decades.


The 35mm Summaron with goggles for the M3.
These were easily removable on the early f/3.5 version.

And when my first Leica M3 arrived on August 2, 1971, with a modest 50mm collapsible Elmar lens, I was ready to hit the streets, having spent the scrimping and saving years boning up on Cartier-Bresson and Doisneau. These were two great if humorless French street workers, whose work I was determined to emulate with an added soupçon of humor. I eventually added two more modest lenses, a 35mm Summaron and a 90mm Elmar, sufficient for most tasks for which the camera was designed. And while my trinity of lenses represented the bottom of the line Leitz options their resolving power was just fine for big prints.

That Leica M3 was simply made for me and represented as fine a street snapper as was available, before auto everything and zoom lenses rendered it and its many derivatives obsolete.


As fine and humorous a street snapper
as was available.
Crufts Dog show, 1972. Leica M3,
90mm Elmar, TriX.

And now it’s in my collection and, yes, the serial number is almost identical to that of my first one, making it August 1958 vintage.


The Leica M3.

Now all I have to do is find a lens for it. I rather fancy that 35mm Summaron with goggles which was used for most of the pictures in my book ‘Street Smarts‘.

Want to buy one? Either make sure it has had a recent documented CLA (Cleaning, Lubrication and Adjustment) or budget up to $500 to have it brought up to snuff. Even the youngest M3 is almost 60 years old and those lubricants, if original, are probably dried up. Cosmetic appearance and function are unrelated.

50mm f/1.5 Summarit

Leica, Photographs

Fast flare.

For an index of all Leica-related articles click here.


The 50mm f/1.5 Leitz Summarit.

1972/3 saw me as a member of Leica Postal Portfolios which was a photo interchange/critique club where you circulated a large box of 12″ x 15″ prints by mail, adding yours and critiquing those of other members. It seems that it exists to this day. There were some 12 members in my group, a friendly bunch of Leica fanatics. You learned a lot and made some great friends. We all did our own processing and printing.

One of those friends loaned me his Leica 50mm f/1.5 Summarit lens which was as fast as they got back then. Two stops faster than my pedestrian f/2.8 Elmar, it was based on a 1930s Zeiss Xenon design (Leitz paid Zeiss royalties) and, while coated, still flared pretty mightily at full aperture. And full aperture it was when I headed out on the street to the nearest telephone booth:


Call girl. The Summarit at f/1.5. TriX.

I actually rather like the way the flare works here, enhancing the feeling of night. I just “rescanned” this with the D800 and it’s come up better than ever.

Leica M11

Cameras, Leica

Gorgeous.


A beautiful thing.

As a once upon a time (a long time ago) Leica M enthusiast, it’s hard not to look at the new M11 and come away impressed with the sheer physical beauty of the machine.

While the entry price – reckon north of $20,000 for a body with three aspherical Leica lenses to do justice to the monster sensor – is ridiculous, and the absence of IS and AF makes the tool anachronistic, it’s a beautiful thing to behold.

Leica makes disposable camera

Cameras, Leica

$9,000 to replace.



Seems like they made the M9 just recently.

All modern cameras are disposable, their life expectancy 2-3 years. Don’t be silly. Pass on that Leica. The best of the best is just $300 a year.

Update September 17, 2020:

A New Jersey repair shop claims to have analyzed the cause of the ‘sensor’ corrosion down to an untreated sensor cover glass, and offers a coated repair/replacement cover glass for $1500. Click here.

Viewfinders

Hardware, Leica

We have never had it so good.

My first ‘serious’ camera was a Leica M3. Originally marketed in 1953, it came with an optical viewfinder with a central rectangle for focusing. This rectangle superimposed a second image, its coordinates determined by the subject distance. When the lens was focused on this subject distance the two images fused into one and the subject was in sharp focus. The experience was binary – there was simply no doubt about sharp or unsharp, such was the genius of the design. Leicas had long used optical rangefinders but the one in the M3 was the first to incorporate the rangefinder image into the viewfinder and the first to have crisp edges to that rangefinder image. Heretofore, the finder on the earlier screw mount Leicas was separate and, frankly, pretty awful. The M3 added icing to the cake by including an illuminated frameline to accurately define the subject area.

There was but one thing to complain about and that was that the 50mm finder frame was too thick with rounded edges and did not disappear when 90mm or 135mm lenses were mounted. These actuated the relevant frame lines but the one for the 50mm remained stubbornly in place. An otherwise uncluttered finder lost some of its minimalist appeal. I suppose there was one other complaint which was that use of the ultimate street snapper focal length, the 35mm, required either a separate finder (ugh!) or a version of the Summaron/Summicron/Summilux with the attached ‘goggles’, an auxiliary finder set designed by Rube Goldberg and about as elegant as that man’s inventions.

So Leica went one better and made the Leica M2 which for decades was my street snapper of choice. The M2, conceived as a ‘bargain’ M body (maybe the ultimate contradiction in terms, because it was still exceptionally costly) absolutely nailed it. The finder was now 0.72x rather than 0.91x in magnification, the frame lines were slim, rectangular sidelines and the focal lengths were the more useful 35/50/90 combination. No auxiliary finder lens device was required with 35mm lenses and the body + lens combination now handled like a dream.

The ‘bargain’ M quickly became the photojournalist’s body of choice. Best of all, attach any of those three focal lengths and all you would see was the framelines for that lens and that magnificent central rangefinder focusing rectangle. This was a perfect as the Leica M finder got. Later versions added clutter with multiple framelines visible at one time and cheapening of the rangefinder’s design saw to it that the focusing rectangle would flare out uselessly into the sun. Try focusing an M6 against the light and you will see.



The left opening is for the rangefinder image, the central one is the
frame line illuminator and the finder itself is on the right. The cam
roller which actuates the split image is visible atop the lens opening.

Now the Leica’s viewfinder was useless for very wide or telephoto lenses, and the growing popularity of these optics saw to it that the SLR would wrest primacy from the Leica. You could mount 20mm, 18mm, even 15mm wides on your Nikon F SLR and see the image through the lens. And 200, 400 or even 1000mm telephotos were just the ticket. But for low light snapping with the fastest manual focus possible, no SLR challenged the Leica M for speed.

Then a couple of technological developments happened. Building on Leica’s Correfot autofocus system (developed in 1976, Leica abandoned it, to their eternal shame) the Japanese developed/stole autofocusing and suddenly the subpar focus experience of the SLR was no more. Point the central rectangle at the area of interest, half depress the shutter button and critical focus was assured. Low light shooting with slower lenses was now easy and the benefits of Leica’s magnificent optical viewfinder started to fade. Then in 2008 Panasonic introduced the G1 which abandoned the SLR’s flapping mirror and clunky pentaprism, opting for an electronic viewfinder. This was like a small TV screen inside the body and its benefits were immediately obvious.

First you truly saw the exposure for the first time in a viewfinder. Mount a manual lens on the body and as you cranked the diaphragm to ever smaller apertures the image automatically maintained brightness as the circuitry cranked up the gain. Just like the brightness control on your TV, but automatic. Now you could not only see in the dark, you cold also focus in it and I jumped at the opportunity.

Sure, the G1 abandoned the 24mm x 36mm full frame of the Leica, substituting the seemingly minuscule 12mm x 18mm instead, but the quality was more than adequate and later sensors and electronic finders only made matters better, so much so that now EVFs are the happening thing in both FF and MFT bodies. Response times continue falling and we are now close to the point where EVFs can serve as well in live action ‘pan and scan’ snapping as the Nikon F of yore.

When it comes to finders, photographers have never had it so good.

My street snapper of choice is the now obsolete Panasonic G7, updated with the latest 12-35mm pro zoom. It mimics the body shape of the Leica M in an even smaller package and the electronic shutter is truly silent when activated. The only sound is the slight susurrus of the diaphragm stopping down if the lens is not at full aperture, and only the photographer can hear it. I have no use for the rear screen ‘finder’ or for the traditional focal plane shutter with all its attendant noise. Perfection.



The ultimate street outfit. Two Panny GX7s, 12-35 and 45-200
zooms, along with an inexpensive and excellent Rokinon fish-eye.