Every century, a few objects are born that transcend utility-the Stradivarius violin, the Rolex Oyster, the Leica M3. Introduced in 1954, this brass-and-glass marvel didn’t just capture light; it crystallized the very soul of analog photography. While later M models chased convenience (the M4’s quick load, the M6’s meter), none could match the M3’s uncompromising craftsmanship. As Henri Cartier-Bresson explained: “The M3 became an extension of my eye. Today, it remains the gold standard for purists who believe cameras should be heirlooms, not gadgets.
When I got my first film camera, a Leica M3, I was over the moon! I sold most of my DSLRs because I fell head over heels for the M3 and those cameras just weren’t doing it for me anymore. And that was just the beginning!
The M3 is a 60-year-old mechanical camera, but it was the start of something wonderful for me. “A street photographer without a film camera is like a body without a soul. Hahaha.” I think the Leica M3 has a special quality: the more time you spend with it, the better your photography becomes. This quality is transferred from the camera through your fingers, your skin, your nerves. This isn’t your typical objective camera review. It’s more like a heartfelt poem that expresses my emotions.
Real Classic
The Leica M3 is a real classic! It was the first film camera to adopt a bayonet-mounted interchangeable lens design, which is still used in interchangeable lens cameras today. Compared with the previous screw-rotating lens assembly method, this bayonet method allows for quick lens replacement. But the Leica M3 is a great camera in so many other ways too! Its film advance wrench has also been widely used by other brand film cameras.
The story of buying a Leica M3
On a sunny afternoon, I strolled through the alleys of the old street, carrying in my heart the infinite love for the art of photography. I was on a mission to find the perfect second-hand Leica M3 camera! The old street was lined with all kinds of stores, but my eyes were always locked on an inconspicuous secondhand camera store that had a really charming vintage feel to it.
As I stepped inside, I was immediately drawn in by the unique atmosphere of age and metal luster. As I stepped inside, I was greeted by a soft light and a lovely display of old cameras on wooden shelves. Each one seemed to tell a story from the past, and I couldn’t help but feel a sense of wonder and admiration. I asked the shopkeeper in the gentlest way if he had a classic Leica M3.
The shopkeeper smiled and seemed to know exactly what I was looking for. He carefully took out a well-maintained Leica M3 from behind the counter. It was so shiny in the sunlight! You could see every detail, and it was clear that a lot of skill and time had gone into making it.
I took the camera and gently stroked the cool metal surface, feeling the weight and texture of it in my hands. As I looked through the viewfinder, it felt like I could see every single moment that had been captured by photographers in the past. I pressed the shutter, and even though it was just a little click, I fell in love with this camera right away. It has a unique mechanical beauty and a wonderful sense of ceremony.
The lovely shopkeeper was kind enough to tell me all about the camera’s history, how it performs, and all the people it’s been with over the years. As I listened to each story, I felt my understanding of this camera deepen and my emotional connection to it grow stronger. After a little back and forth, we finally struck a deal at a price that was just right for us.
As I walked out of the store, holding this precious Leica M3 in my hands, I was filled with so much excitement and anticipation! I knew that this wasn’t just a camera purchase, but a tribute to the legacy of photography and a promise to capture countless beautiful moments in the future. On this sunny afternoon, my encounter with the Leica M3 became a truly unforgettable experience.
The original Leica, created in 1914, was the first camera to use film in the 24 x 36mm format. At least three UR Leicas were built by Barnack, who also tried out different lenses, including the retractable Mikro-Summar 42mm f/4.5.
A standard lens is one whose focal length is about the same as the diagonal of the film. For a standard 24 x 36mm format camera, this is about 43mm. In reality, the actual focal length designed by Ernst Leitz for the Ur-Leica seems to be closer to 43mm.
Max Berek came up with the Elmax 50mm f/3.5 lens for the Ur-Leica, which stands for “Ernst Leitz and MAX (Berek).” The 42mm lens was replaced by the Elmax 50mm f/3.5, which offered better optics, in the production Leica I.
Since then, the 50mm lens has become the standard lens, but some companies do offer lenses that are closer to a 43mm focal length, like the Pentax 43mm f/1.9 and the Contax 45mm f/2.
Safe and Comfortable
Leica Elmar 50mm f/3.5 (5cm/3.5)
I’ve always had a soft spot for the compact and collapsible 50mm Elmar f/3.5. I tend to be a bit reserved when it comes to using larger lenses for street photography, but the Elmar’s small size makes me feel at ease. When shooting in well-lit conditions, I typically set the aperture to f/5.6 – f/8, and with an ISO 400 film loaded, I’m ready to go for some serious street photography. Overall, the Elmar’s convenience and reliable performance make it a great choice for my photographic adventures.
Tessar-Type
Leica Elmar 50mm f/3.5 (5cm/3.5)
This Tessar-type lens was considered one of the best of its time, with four elements in four groups. However, it does lose some sharpness in the outer zones when used wide open. However, I’ve found that the Elmar f/3.5 is sharper than the Summar and Summitar when stopped down, even by just a stop or two. The Elmar f/3.5 also has better contrast than uncoated lenses, which tend to have lower contrast and flares. This makes it ideal for black and white photography. The smallest aperture for my collection of f/3.5 Elmars is f/18, except for the last series, which has f/22 and the red scale.
On Digital Ms
Leica Elmar 50mm f/3.5 (5cm/3.5)
You can use the lens with digital Leica M cameras if you get an L39-M adapter. Just a heads-up: collapsible lenses might contribute to sensor dust. I’ve noticed this more often with f/3.5 Elmars. From my experience, the Leica M9 sensor seems to collect more dust than my DSLRs with built-in automatic sensor cleaning.
One possible reason for this is that collapsing or uncollapsing the lens may create a pumping effect that introduces air and dust into the camera mount. To avoid this issue, it’s best not to collapse the lens while it’s attached to the digital M camera.
Personally, I prefer to use non-collapsible lenses on digital M cameras to minimize the risk of sensor dust. If you are concerned about sensor dust, you might want to consider shooting film instead.
Leica Elmar 50mm f/3.5 (5cm/3.5)Leica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar with black & white filmLeica 5cm 3.5 Elmar + m3Leica 5cm 3.5 Elmar + m3Leica 5cm 3.5 Elmar + m3Leica 5cm 3.5 Elmar + m3
This was Leica’s first big step into the world of large aperture lenses with the Summarit 5cm f/1.5, which hit the market in 1939. At the time, it was tough to design a lens with a large aperture. This lens’s predecessor was designed and produced by Schneider. Later on, Leica used it to go up against Zeiss’ large aperture lenses. This lens is the foundation of Leica’s large aperture lens lineup. Leica’s later Summilux 50 1.4 v1 was based on this lens.
Bokeh
If the background isn’t too complex, the bokeh effect produced by the Leica 5cm f/1.5 Summarit softens the subject and can create a dreamy, ethereal effect. If you’re shooting people up close, like within two meters, you can reduce shadows and imperfections on their faces. To be clear, this lens isn’t sharp at f/1.5, and there seems to be a thin layer of gauze covering the front of the lens.
If you’re working with a complex background, like branches or leaves, the bokeh will look messy. The bokeh can be a bit intrusive and distracting. This can be a real turn-off for many people. One way to avoid this issue is to avoid shooting in areas with trees and lights in the background.
Affordable
Its price is pretty reasonable, about the same as the Elmar 50 3.5, but it’s a large-aperture lens with f/1.5. And it’s a Leica lens.
leica 5cm f/1.5 summarit + leica m3 + Black and white film
Leica has a reputation for high quality, and if you want a fast lens for a 35-millimeter film camera, this SUMMARIT model would be a great addition to your gear.Leica SUMMARIT 50-millimeter lenses were made in the 1940s and 1950s.
Pre oduction period: 1949-1960 Code: SOOIA(screw mount) SOOlA-M(bayonet) Serial#:740,001-1,537,000 Total production: ca. 65.000
Maximum aperture: 1: 1.5
Focal length(nominal): 50mm Angle: 450
Minimum distance: 100cm
Weight: 320 grams
Filter: E41 or slip on 43mm
There are numerous versions of the Leica M3, and over time, many people have shared their experiences with them. Some enthusiasts have even published books on the subject. However, there are sometimes discrepancies in how people differentiate between the various models, and I have personally encountered versions that are not covered in their collective experiences. With so many versions available, it can be challenging to determine which information is accurate. Nevertheless, the identifying features of these models still serve as useful reference points.
Leica M3 single-stroke and double-stroke models have distinctive serial number features.
1） Boundary between single-stroke and double-stroke models. Leica M3 cameras with serial number 919251 and later were produced as single-stroke models, whereas earlier models were double-stroke. The lever on the double-stroke models is shorter than that of the single-stroke models. Early Leica M3 cameras had a single red dot in the center of the film rewind knob, which was primarily found on single-stroke bodies. Later on, the film rewind knob was modified to include two red dots and can be found on both single-stroke and double-stroke models.
2）Depth-of-field preview diagram. The Leica M3 single-stroke version’s viewfinder is equipped with a depth-of-field preview diagram, which is indicated by two raised bumps located above and below the center focusing spot. These bumps represent the depth of field at f/16 and f/5.6 （50mm lens）, respectively, and any overlapping images within this range can be viewed clearly.
