50mm Archives

LEICA I Model C With Elmar 50mm 3.5

One day, I was seen by a colleague holding a Leica I camera, and he exclaimed, “Wow, this is an amazing camera!” It’s obvious that it belongs to a man with a story—and a fascinating one at that! The Leica I was the first mass-produced model by Leica, and it was a game-changer! The prototype was called the “O” model, and it’s now a highly sought-after collectible item! Leica later released two incredible replicas of the “O” model! However, the “O” model was never truly sold on the market, and the “I” model was the first Leica camera that was available for purchase. From 1925 to the present day, most of these cameras can still be used with just a little adjustment to the cloth shutter, which is truly miraculous!

Viewfinder

Leica I cameras all come with a small black-painted viewfinder slung over the shoulder, which is very beautiful. This viewfinder provides an approximate framing range and is perfect for getting a feel for the shot before you take it. It doesn’t assist with focusing, which still requires estimation, but it’s a great way to get started!

Black paint

The black paint on the Leica I cameras is hand-mixed to absolute perfection, and the finish is absolutely stunning, with a high gloss that is simply mesmerizing! With an affordable black-painted camera like this, I might just be able to balance out my desire for a black-painted M3!

Playing with Leica

Those who frequently buy new cameras have become “fallen” into just taking pictures, haha! Those who play with old cameras are the ones who truly appreciate them. This camera is so small, exquisite, simple, and clean that it’s hard to put down once you hold it. I like to pair it with the Elmar 35 3.5 lens in black, it looks absolutely beautiful. Blind shooting with a 3.5 aperture is no problem at all, with no pressure.

Leica I (model A)

The Leica I camera was produced in a number of versions, which can be broadly classified into three types: Type A, Type B, and Type C. The “I” (Type A) model was first released in 1925, and its main feature was a fixed metal strip on the front of the body that was used to lock the lens focusing lever. This model was subsequently subdivided into versions equipped with an Anastigmat lens, an Elmax lens, a Hektor lens, or an Elmar lens. The “I” (Type B) model was released in 1926, and it was Leica’s sole camera with an in-lens shutter. It has a distinctive mushroom-like shape, which is highly sought after by collectors, although personally, I find it rather unappealing. The “I” (Type C) model was released in 1930 and was the inaugural Leica camera with a detachable lens. Initially, this camera was sold as a set with three lenses, and the body and lenses were individually calibrated and could not be used with other bodies or lenses. Consequently, the body and lens in a set were engraved with the same serial number, or the lens had the last three digits of the body’s serial number. Subsequently, Leica implemented a standardised production process, enabling the interchangeability of bodies and lenses. They also offered to calibrate early lenses to the standard type, which were marked with a “0” and the body mount had a “0” engraved at the 12 o’clock position.

SN Start	SN End	Product	Year	Batch
131	1000	Leica I (Anastigmat & Elmax 1st version)	1924	870
1001	2445	Leica I (Elmax, Elmar + Elmar Close-Focus)	1926	1445
2446	5433	Leica I (Elmar 2nd version + Elmar Close-Focus)	1926-1927	2988
5434	5700	Leica I (4 digit)	1928	267
6301	13100	Leica I (Elmar 4th version + Elmar Close-Focus)	1928	6800
13301	21478	Leica I (Elmar 6th version + Elmar Close-Focus)	1929	8178
21811	34550	Leica I (Elmar) 7th version from 31600	1928	12740
34803	34817	Leica I (Elmar + Luxus)	1929	15
34818	^60000	Leica I (Elmar 8-10th versions + Elmar Close-Focus + Hektor)	1930	25183
TOTAL	ASSIGNED	SERIAL NUMBERS	1925-1930	58,486

Compur Leica (model B)

SN Start	SN End	Product	Year	Batch
5701	6300	Compur Camera (dial-set)	1926-1929	600
13101	13300	Compur Camera	1929	200
13101	13300	Compur Camera (dial-set + rim-set)	1929	200
21479	21810	Compur Camera (rim-set)	1930	332
34451	34802	Compur Camera (rim-set)	1930	352
unknown	50572-	Compur Camera	1931-1941*	157*
TOTAL	ASSIGNED	SERIAL NUMBERS	1926-1941	1,651

Leica I (model C)

SN Start	SN End	Product	Year	Batch
34818	^ 60000	Leica I (nonstandard-mount)	1930	[25183]
^ 60001	60500	Leica I (nonstandard-mount)	1930	500
60500	71199	Leica I (standard-mount)	1931	10700
TOTAL	ASSIGNED	SERIAL NUMBERS	1930-1931	11,200

Leica M9 Review

The Adolescence of Leica Digital – Leica M9

The last Kodak train made its way to the station, carrying with it the CCD of the M9. It was a sad day when the last Kodak train took away the CCD of the M9. But it couldn’t be kept, nor could it be saved. Leica has entered the exciting, mature CMOS era! Youth will eventually say goodbye, but it’s a bittersweet moment. Farewell, youth! As you slowly fade away, your pure happiness stings memories.

Remembering the Leica M9

In 2009, Leica released the M9, and it was a game-changer! Just think of all the people who dream of having one! The world’s first full-frame rangefinder digital camera! Just imagine holding such a camera, like Henri Cartier-Bresson, wandering the streets. How many fantasies could it evoke?
Just how many people only discovered this amazing brand thanks to the incredible Leica M9? At that time, it was the most impressive 135 full-frame digital camera on the market. Just one look at you with this camera around your neck and you’d be the center of attention wherever you went!

How many people have tried different settings in Photoshop, trying to get their Canon or Sony colors to match Leica? They usually end up failing, not because of Photoshop, but because they’re impatient.

Classic Elements of the Leica M9

The viewfinder frame of the M9 is physically lit, just like the film M cameras. Film users will feel comfortable looking at the front face of the M9, while the bald front face of the M240 and M10 may feel a bit awkward. In addition, the M-E and M240, which were introduced after the Leica M9, lack the preview lever, making them look less classic in appearance. Therefore, when looking back at the M9, its classic elements appear more dazzling. Nowadays, the M10 also lacks the light window, and Leica designers realized this. If we continue to simplify it like this, can we still call it a Leica? Therefore, Leica M10 quickly introduced the most classic rewind knob of the M3, making it into an ISO dial. In order to maintain its classic elements, it can be said that they put in a lot of effort.

Leica users are interesting. On one hand, they say that Leica is becoming less and less classic, but on the other hand, they look forward to seeing what new products Leica will release slowly. This shows that Leica M has always had some kind of tacit understanding with its users, which can only be explained by mysticism. But in any case, it is now a consensus that there is no light window after the M9. From today on, the Leica M9 is officially classified as a classic camera!

M8 and M9

APS-H and full-frame are the differences in film size, but in terms of operation, the M8 and M9 are basically the same. Once you get used to the M8 and M9, it might feel a bit strange to switch to the M240 and M10 in terms of settings. The menus on the M8 and M9 are pretty simple, which makes them seem easier to use.

The Color of the M9

I think film is better than digital. It has more character. No matter what data you use to prove the high pixels and accurate colors of digital, it can never replace the premium texture of film. I think it’s fair to say that the color of the Leica M9 is pretty close to film. In fact, I’d go as far as to say that’s the biggest compliment you can pay the M9.

CCD vs. CMOS

The CCD from Kodak gives the Leica M9 a special texture, of course, when paired with Leica lenses. Many people switched from CCD to CMOS, but still missed the color and texture of the M9. The solid blue, the pure red, and the greenish tone throughout the photo—they always give you some unexpected surprises. That’s the characteristic of film, right?

Don’t get me wrong, the CCD of the M9 is an amazing piece of technology. Some people can even process a CMOS photo to have a CCD-like texture, it just takes some time. And the color of Leica’s CMOS is also not to be underestimated. It is not something other brands can easily catch up with.

Raw Dynamic Range

The good news is that underexposure of up to 4 stops can be salvaged, while overexposure can be recovered up to 3 stops. This is truly amazing! It’s incredible how well it retains highlights, especially when compared to other cameras. Many people have been blown away by this feature, and they’re saying that highlights can’t be recovered as well in CMOS cameras.

Conclusion

I’m not here to judge other people’s opinions about the Leica M9. Everyone’s entitled to their own! For me, it will always be a camera that inspires admiration! It was then, it is now, and it will be again! Because I’ve never denied those whimsical thoughts from my youth!

For the previous generation, owning an M3 was a truly happy thing! For those who were interested in Leica ten years ago, owning an M9 was an absolute dream come true! I’m not trying to persuade you to buy a Leica M9. I’m just sharing my love for this amazing camera! Maybe you’re thinking about the M11 or M10? Well, my song might not be in your dreams, but it’s definitely worth a listen!

Leica 50mm f/2 Summicron Rigid Is The Second Choice

Sound:

I just love the satisfying sound that comes from turning the aperture ring of the Leica Rigid lens! It’s a quiet, clean sound, similar to the ticking of a mechanical clock. It’s such a shame that newer Leica lenses don’t make that sound.

On CMOS and CCD:

The Leica 50mm f/2 Summicron Rigid is a great lens that works well on both film and digital cameras. On CMOS and CCD sensors, it produces a softer image with less contrast.

Condition:

It’s not easy to find a Leica 50mm f/2 Summicron Rigid in good optical condition. It’s not unusual for a lens of this age to be in perfect condition.

Rigid vs V4:

I’ve switched to the Summicron-M 50mm V4 as my 50mm lens. It has better coatings and may be sharper.

Rigid DR:

Rigid has a cousin who wears glasses and adds “DR” after the name. The Rigid DR lens is great but heavy. It’s best for black and white photography, while the V4 is amazing for color. The Rigid DR isn’t compatible with a digital Leica camera.

FOMAPAN 100 profi line classic Black and White Film

Fomapan 100 Film

Overall, the film base is slightly thinner, with high transparency and is easy to scan. However, one drawback is that the frame numbers on the film edges are marked based on half-frame cameras, which means that Fomapan has over 70 frame markings, whereas the standard 135 format film has only 36. Nevertheless, this film from the Czech Republic performs quite well in actual use.

Grain

Fomapan ISO 100 is not particularly fine-grained, and some even say that it is the roughest among all 100 speed films. However, I don’t completely agree with this. The grains of Fomapan often appear in highlight areas, but if the metering is reduced to darken the image, the grain is not very noticeable.

Mood

Although the tolerance of this film is high, large grains can easily appear in highlights, making it less suitable for shooting fresh and light style photos. If you prefer a bright and delicate feeling, Fuji’s Acros 100 is a better choice.

Cost-effectiveness

Many people consider this film to be good, with high tolerance and sharpness, despite the grains not being particularly fine. It bears some resemblance to Ilford Pan 100, but with higher contrast. Overall, it is slightly inferior to Ilford Pan 100.

Conclusion

Fomapan 100 is an excellent film for street photography, with surprising tolerance and unbeatable cost-effectiveness.

FOMAPAN 100 Classic is a panchromatically sensitized, black-and-white negative film designed for taking photographs. The film meets high requirements for low granularity, high resolving power and contour sharpness and a wide range of halftones. FOMAPAN 100 Classic has a nominal speed rating of ISO 100/21o, but due to its wide exposure latitude the film gives good results even when overexposed by 1 EV (exposure value) (as ISO 50/18o) or underexposed by 2 EV (as ISO 400/27o) without any change in processing, i.e. without lengthening the development time or increasing the temperature of the developer used.
more info

Kentmere Pan 400 Black and White Film

ISO 400 black and white film is a popular choice for capturing human subjects due to its high tolerance and larger grains. Kodak Tri-X 400 has gained a devoted following for its ability to handle push processing, allowing it to be used at ISO 800 or even pushed to ISO 3200. However, Kentmere 400, the film we are discussing today, is best used at its rated ISO 400 and should not be pushed beyond that. Its pricing reflects this recommendation.

Regarding Kentmere’s contrast, the film’s manufacturer remains a mystery, with some speculating it could be Ilford due to their shared UK base. Nonetheless, Ilford’s PAN 400 is considered to be of superior quality compared to Kentmere. Kentmere struggles with low-light situations and tends to produce deep blacks, leading to an overall high contrast look that can make images appear harsh, particularly when shooting with high contrast lenses or in high contrast scenes. Personally, I find it best to avoid using Kentmere in bright noon sunlight.

On the other hand, Kentmere 400 performs exceptionally well for indoor and subway portraits, creating a clean, bright look reminiscent of its white packaging. It appears to have a built-in half-stop yellow filter effect and also handles foggy weather with ease.

The cleaning car

The cleaning car came slowly, and I felt the picture was clean and peaceful. So I filmed it. The driver inside saw me with a grin, and he should be laughing at what this fool is shooting?
Smile, smile makes the world warmer.