Long Load Leicas

In the early 1930′s Ernst Leitz Wetzlar experimented with a Leica camera capable of making more than the usual 36 exposures. Experimentation resulted in the Leica Reporter ( also called the Leica 250). A maximum
of thirty three feet of film for 250 exposures filled the KBOOF feed cassette. Exposed film was transported into a second KBOOF. Approximately
one thousand Reporters were manufactured and utilized for industrial, business, scientific, research, medical, and military applications.
Earliest deliveries date as 1934 with a very few completed as late as 1953.
In July 1936 the top shutter speed was changed from 1/500 to 1/1000 second. Early cameras to 1/500 are officially known as the FF. Cameras to 1/1000 have been labeled GG although Leitz documents do not acknowledge this. Many Reporters were heavily used and subsequently returned to Leitz for rebuilding. During the 1950′s f series flash synchronization could be added.
The photographs illustrate Leica 250′s encountered during decades of research. Surviving cameras are highly prized by collectors. Capable of 250 exposures without reloading the Reporter is unique in Leica History.

ILLUSTRATIONS

1. Prototype Reporter ( circa early 1930′s ) built on a Leica IT chassis.
2. Leica II Reporter from Leica Handbuch , Fritz Vith, 1933. Did not reach production status.
3. First production Reporter No. 130001 delivered to Leitz New York January 1934. Constructed on III chassis .
4. Front cover of FF brochure June 1934.
5. Factory packaging for Reporter.
6. Reporter with Sum Xenon and KBOOF cassettes.( DiMarco photo ).
7. ANZOO film trimming template engraved Leitz New York. Most were prepared by Leitz Wetzlar.
8. Reporter with 20cm 1:4.5 Telyt, TZOON extension tube, and SFT00 viewfinder ( circa 1940).
9. Chrome finish 250 No. 352463 with 5cm Xenon. Originally black.
10. Reporter. Nr. 352400 rebuilt in the 1950′s. With f series synchronization.
11. Leica 250 No. 349023 compared to modified/converted Leica lc 561238 for 750 exposures.
12. Leica Reporter with MOOEV electric motor capable of 4 frames per second. Used by the Luftwaffe during World War II.

The 250-exposure Leica Camera, Model FF

Every photographer, whether amateur, profes¬sional or scientific, experiences at times the need of greater film capacity than the regular Leica is capable of offering. There is, for instance, the press photographer who may lose irretrievable opportunities if he is compelled to insert a new film chamber while interesting events are in progress, there is the amateur on his holiday tour, or the explorer further afield, both of whom have only rare opportunities of getting their exposures, or there is the scientific photographer who has to reproduce an old volume page by page, for which purpose it would be an unwelcome waste of time to have to put in a new film after every 36 pages, apart from the inconvenience of having to carry about a whole series of film chambers for the work.

Thus it comes about that for some long time past the desire has been expressed by various users of our camera for a Leica with a film chamber sufficient for a far larger number of exposures. To meet this demand we have brought out under the name “Leica FF” a Leica camera the film chamber of which is loaded with a film of 30 ft. length, thus permit¬ting more than 250 exposures to be made with a single loading.
The “Leica FF” is supplied with two film chambers, one serving as take-up chamber. This is necessary on account of the 30 ft. length of film, which would be exceedingly tedi¬ous to re-wind.
The “Leica FF” is usually equipped with the 50 mm. (2-inch) f 3.5 Standard Elmar lens but can be supplied to order with any other lens. If another lens is desired for the “Leica FE” the price is increased accordingly by the price of the lens required. In ordering a “Leica FF” with another lens the code- word for the latter is to be added to the codeword “Loomy”.

For particulars of the Leica, the interchangeable Leica lenses, and the numerous Leica accessories, see our special descriptive booklets.

Instructions for Use.

As fig. 1 shows, the “Leica FF” differs from the Model F Leica only by reason of the larger film chambers, room for which must be created in the body of the camera. Hence the handling of the camera also differs from that of the Model F only as regards the loading of the film into the film chamber, and of the film chambers into the camera. Thus, for example, the trimming guide for shaping the film is longer. Further it must be noted that, in inserting the film into the chamber, the end of the film must not be folded over and fixed. When placing the two film chambers in the camera, care must be taken that the knob on the underside of each film chamber is correctly snapped into position by gentle turning of the chamber. This is easily effected, because the screws which hold the spring closing

the chamber have especially high heads (fig. 2). This fact assures the insertion of the film chambers in the correct position. The base cover-plate of the “Leica FF”, which is doubly locked, cannot be closed unless the two film cham¬bers are properly placed. When the two locks are closed the two chambers open together. The film is not wound back after exposure. A portion of film which has been exposed can be removed from the camera, after being cut off within the camera by means of a cutting device.

E. LEITZ, INC., 60 EAST TENTH ST.
NEW YORK, N.Y.

ABOUT THE AUTHOR

James L. Lager received his B.S. and M.S. degrees from Ohio State University. In 1971 he joined the Leica Technical Center of E. Leitz, Inc. Rockleigh, N.J. Since 1975 Jim has worked in the retail sector of the photo industry. The author’s previous books are; LEICA ILLUSTRATED GUIDE, (1975). LEICA ILLUSTRATED GUIDE II, (1978). LEICA ILLUS-TRATED GUIDE III, (1979), LEICA LITERATURE, (1980) and LEICA, AN ILLUSTRATED HIS¬TORY, VOLUME I – CAMERAS, (1993) and VOLUME II – LENSES, (1994). Jim is a past president of the Leica Historical Society of America (LHSA) and past editor of its official publication, VIEWFINDER, in which he wrote and illustrated over 100 articles. His photographs have been published in LEICA FOTOGRAFIE and LEICA PHOTOGRAPHY. Over 22 years of almost daily contact with the Leica camera on both pragmatic and esthetic levels, has given Jim Lager a unique perspective on this engaging subject.

ABOUT THE PHOTOGRAPHS

Virtually all of the author’s photographs in this book were taken with a Leicaflex SL or SL2, with Bellows R/100 f4.0 Macro Elmar R combination. The 60mm f2.8 Macro Elmarit R or 65mm f3.5 Elmar were used for larger subjects. Panatomic X or Agfapan 25 film was generally used, and a light tent was employed for soft, even illumination.
John Mecray’s supplimentary photos were taken with a Leica R6 and a 100mm 1:2.8 Apo-Macro¬Elmarit-R.

A long-cherished dream has begun to come true for me … the Leica M.

The experience has been everything I’d hoped for, and much, much more. In unexpected ways, using the Leica M system has brought me back to my roots as a photographer. Both as to how I work with the camera, and how I am thinking about images, and image-making, again.

I hope to capture here some of the magic I’ve felt, beginning to relearn my craft  with the M system. I began including images from my first trip with the M system, three days at Yosemite in November, but have included a few other images, where they seemed to better reflect the discussion.

To Leica aficianados, perhaps these words will bring a smile of recognition, or remembrance of the start of their own journey. For anyone who is thinking about what this rangefinder system may offer, I hope these words intrigue and motivate you to take the plunge as soon as you can.

The first decision I faced, when it looked like the Leica M was finally in reach, was which camera to choose. Even though I’ve always been more of a film guy, even recently, I had decided on a digital Leica. It was August, with Photokina right around the corner, and everyone was expecting the announcement of the “M10”. The practical part of me, which had been so patient for so many years,

thought it surely best to wait for the new camera. But I also realized that even if a new camera were announced, it would likely be another 6 or more months before it was available. I did not want to extend my multi-decade wait any longer, so I jumped, without hesitation, for an M9P, which had just been discounted $1000!

I am still awed by the simple beauty of this camera. One might think that after so many years, I would have wanted my own red dot! But the lettering on the top plate reminds me of the only Leica I had ever used, my grandfather’s IIIc, and its spare black perfection brings pure joy every time I see it.

I do remember, though, being taken aback the day it arrived by how small it seemed, even with a lens mounted, having most recently been using a Nikon 3S, more often than not with a 24 – 70mm zoom lens, quite massive in comparison. I think there was even a part of me that wondered, in a small, doubting voice, what all the fuss was about (for these Leica cameras).

Without question, from the very beginning, though, there was also an immediate sense of how nicely the camera fit in my hands, how perfectly positioned and proportioned the aperture and focus rings seemed, and how naturally my right index finger found the shutter speed dial.

The Nikon was ably designed so one *can* hold onto it; the Leica was clearly built, from its inception, in a scale *for* the human hand.

I did feel awkward at first, though, even quite clumsy as I reached errantly for focus or aperture. But I realized how natural the operation of the camera could become. For days I just carried it around, helping my hands memorize its shape and feel, learning more naturally to find its functions. And as wonderful as the camera began to feel, it was, of course, the lenses that were the real revelation.

From the very first image I downloaded to my laptop, I was amazed by what seemed like an “atmosphere” to the lens’s image-making. I found myself taking pictures of the most ordinary objects, because of the way the Leica lens brought them to life in their own “thatness.” There was the exquisite resolution of fine detail, certainly, but even more, the field of focus, or more precisely, the actual plane of focus, seemed to have much greater force in the image. The character of the lens’s imaging seemed to actually call for the use of a narrower range of focus.

I began to realize that I had been in an unexamined quest for sharpness for most of my photographic life.

My early heroes of photography, Edward Weston and Ansel Adams, had even named their Group f/64 as a conscious movement away from pictorialism, and to honor their own quest for perfect sharpness in the service of “straight photography.” Walker Evans, another of my early heroes, with whom I had actually had the opportunity to study, was also primarily known for his largeformat images, the crispness of his photography of place.

So while it is not surprising that my aesthetic had been so oriented to sharpness, it was all the more extraordinary how quickly Leica lenses opened up entirely different expressive opportunities.

At once I began to wonder if “sharpness” had become the enemy of expressive potential.

As I now think about it, there is a wonderful irony in the fact that this special expressive potential is actually grounded in the Leica’s ability to resolve detail with such fineness and delicacy. It is that kind of “sharpness” that gives special impact to the plane of focus, and makes for such pleasing transition away from focus.

Which leads to the other principal reason that this kind of expressive opportunity is at the very heart of what is uniquely Leica: the lenses perform with such spectacular finesse wide open. I just recently learned that at least one Leica master shoots as close to wide open as possible, all the time, as a basic premise of his Leica style. I can now appreciate how no other approach really uses all the creative potential that is so specially at hand with a Leica lens.

Even though I am not quite at that point, aperture and bokeh are already a much larger part of my photographic arsenal again, and are really changing how I approach visual opportunities and possibilities. I’ve even bought the first of what will likely be several 0.9 neutral density filters, to give me the option of keeping my lenses as wide open as possible during daylight hours.

Quite a departure from tilting the plane of focus, and closing down a lens as much as possible to bring everything into “sharpness!” Which is still so eminently, easily possible with the M:

It was hard at first, of course, coming back home to a more deliberate way of working. Focussing with great care, deliberating over exposure trade-offs, composing without the certainty of a through-the-lens view … all come into play with each Leica image … the way they used to when I worked with my first camera system, a Nikkormat and a small collection of prime lenses.

Even with years of large-format discipline, spot metering, precise camera positioning with bubble levels and movements, back-wrenching focussing with a loupe on a groundglass, my brief foray into automated digital photography had very quickly, and fundamentally, altered my approach.

Within a couple of years of using digital cameras, I was so used to relying on auto-focus, and quickly evaluating displays of complex metering patterns, that photography had become much more of an exercise in instantaneous, instinctual composition, than the more engaged, deliberate, pre-visualizing approach of earlier years and formats.

I value what this more instinctual approach has taught me, because I believe that photography, at its best, draws on much deeper aspects of ourselves than our conscious mind. But as as I’ve begun to work with the Leica M, I’ve really enjoyed the feeling of coming home to a more engaged, deliberate style that still embraces instinctual, emotional response.

And this really has felt like coming home.

My 1970 Nikkormat has a small, central, split-screen for focussing, much like the M’s central split-image. It has a needle indicating exposure, on the right side of the viewfinder. Honestly, I’m still not as used to the M’s LED exposure indicator, because I liked the analog movement of the needle in the Nikkormat, which gave me a smoother sense of the relative luminance of different areas in a scene.

As I learn to interpret its LED states, I expect I’ll feel the same confidence with the M9’s metering, but I am still a bit perplexed by it. The M9 seems to need 1 to 2 full stops more exposure than my experience with viewfinder metering leads me to believe. Immediately, though, I’ve really appreciated the logic of the LED’s arrows, which clearly and uniformly point out the correct direction for changes of either shutter speed or aperture. Very intuitive, very nice.

I was always confident in my ability to focus accurately, and this has proven to be true with the M, even in challenging situations, even indoors, and even in low light. It does take me some effort, though, which, again, compels a more engaged and deliberate approach.

I never could learn to focus with my right eye, which always seemed to be the “correct” way in instructions, and photos I have seen of people taking pictures. Perhaps I like the way the camera blocks my right eye, when focussing with my left. Or perhaps, as my wife suggested the other day, I’m working more with my right brain, when focussing with my left eye! It has always, though, felt like a very concentrated effort, but one which is definitely rewarded. I’ve discovered that I really like this about the rangefinder M. There is real gratification in actually focussing to the result I’m trying to achieve, rather than relying on automation, which so often, subtly, agonizingly disappoints by blindly locking onto *not quite* what is intended.

The clearest example that comes to mind is an opportunity I had to photograph a great Tibetan lama during one of his teachings. To catch what were often fleeting and very funny expressions, I relied on auto-focus that day, since I was using a large and heavy digital SLR, and by necessity, a long lens. So most of the images have the front edge of his chair’s handle perfectly sharp; but him, not so. Even if I had missed a lot of expressions by focussing manually, the ones I would have gotten, would have been spot on. And the Leica would have been so much quieter, lighter, and easier to hold!

And there is another, really fun way the M takes me back to my roots as a film photographer. A way that I have even seen criticized in reviews, when someone decries that such an expensive camera has such a low-res LCD monitor.

Apart from necessary histogram information, which still seems critical to dialing in exposure with the M9, the LCD monitor only hints at the image you may or may not have captured. To me, this feels like working with film, where you never know how your efforts came out until you get to the darkroom, or in this case, Lightroom. Results, especially since they’ve only been seen on the camera’s low-res monitor, are always exciting, always a revelation with the M9. The camera never seems to disappoint, and the small hints of reward you see in the LCD monitor are full of possibility, full of delight, as you tease the RAW image into what you hoped to capture.

And for me, this is what photography is really all about. Engaging one’s whole being, beginning with the tactile sensations of working with the camera, to find that combination of factors and settings that resonate with one’s deepest connection to the visual scene with which one is engaged. To feel intimately connected to the camera, so that engagement is fully realized, deep, spontaneous, intuitive, emotional, drawing on all resources, conscious and unconscious, to commit to the image we believe in.

The M fully supports that engagement, from the silky, solid feeling and sound of the camera, to its mechanical performance and superior optical quality. The camera’s abilities, the lens’s magic, push me to take the images I really, instinctually feel, as well as those which more analytically, compositionally intrigue me. And then, there is the further joy and surprise as I find them find them better endered than I had hoped, even, sometimes, imagined.

The essence of what Walker Evans taught my small seminar in 1971 was just that. Just take the picture you believe in. Yes, learn your craft, learn you instrument, but let that all just become the direct path to taking the picture you believe in. Let it all just fade away in the instants of your engagement. His camera of choice in those late days was a Polaroid SX-70.

I’ve found the M lets me do just that. It’s a camera which feels right in my hands, even with its more exotic lenses. It becomes transparent to use, the more I engage in a scene, and the lenses just flat out show what is there, as it is. Thatness, suchness, just keep coming to mind.

So what is left is to take the images in which one believes, and enjoy the whole experience of using perfectly wonderful tools. Throughout, there is a seriousness in Leica’s commitment to the task at hand that inspires confidence, and instills joy as the photographic process unfolds.

Which leads me back to the heart of what I’ve hoped to touch on, the pure joy of working with such beautiful precision tools as the Leica M, and its wonderful optics. It is joy at the most basic, primitive level, from holding and working with the camera, right up to the most sublime moments of discovery, when results unfold with unexpected fineness and subtlety.

My last sunset at Yosemite, found me high above Olmstead Point, where this venerable tree had drawn me. I caught myself more than once just purely enjoying the camera itself, enjoying the process of mounting lenses, the look, the heft of the camera. The bands of grey, white and black on the shutter. The confidence I had about what was transpiring.

I was getting tired from being drawn so deeply into the process of making images; sad, too, that my short stay at Yosemite was drawing to a close.

But I could not have imagined a more perfect introduction to the happiness of M photography, and look forward to each new opportunity, as I find myself coming hoMe.

A significant part of this journey has been the happy circumstance of meeting Sam Shohan, just over the phone so far. I am deeply indebted to him for helping me start my journey with the Leica M, and for his warm support and inspiration.

Thank you, Sam!

PRESS RELEASE

Special edition book recounts the path to becoming a living legend 

Allendale, NJ (December 6, 2012) – For nearly a century, Leica cameras have captured fleeting moments and transformed them into stories brimming with the lifeblood of true human experience. The iconic image of the end of WWII as displayed by the sailor and nurse in Times Square embodies the excitement and relief felt in the U.S. on V-J Day, an immortal message not of love, but of spontaneous joie de vivre.  As a stark contrast, yet just as intense, the palpable fear on Napalm Girl’s face reaches beyond the picture as she runs screaming from the wreckage that was formerly her home, announcing to the world that war also, and above all, affects the most innocent people: children. Now, the story of passion and inspiration synonymous with Leica Camera comes to life in “Ninety Nine Years Leica,” a 300-page tribute to the intensely emotive and legendary images that have become a part of our lives. It sheds an emotional spotlight on 99 years of enthusiasm for a small camera developed by Oskar Barnack in 1913.

Part history lesson, part compilation of personal anecdotes, part pop culture retrospective, “Ninety Nine Years Leica,” ushers readers into an undiscovered “Leica Universe.” A unique, fun and enlightening combination of compelling images and expressive texts tells the story behind a brand well on the way to becoming a living legend. Throughout the book, it becomes evident that not only has Leica played an active role in the world’s celebrations, sadness, relief and hope but also in the lives of its camera owners. The result of a close collaboration between Leica and the multiple-award-winning publisher 99pages – under the creative direction of AnsgarPudenz, Rainer Schillings and Till Schaffarczyk – “Ninety Nine Years Leica” takes readers on a trail of photographic discovery blazed by legendary Leica photographers such as Henri Cartier Bresson, Robert Capa and Elliott Erwitt.

“Ninety Nine Years Leica” debuted at the photokina 2012 trade show to rave reviews. In North America, fewer than 1,500 English copies are now available exclusively through Leica Stores, Boutiques and Dealers.

Ordering it online from our store:

Ninety Nine Years Leica A company history Book NEW$130.00

More info: Product Description

Ninety Nine Years Leica
A company history, completely different:

Ninety-nine years and on the way to becoming a living legend. Throughout the history of photography, the name Leica is linked to ‘vision and innovation’. Leica has not only made significant contributions in technical terms, but has influenced the content of photography as we know it. The new book, ‘Ninety Nine Years Leica’ by the Hamburg publisher 99pages is a fitting opulent tribute to this fact. After reading through its 300 pages, it is impossible to overlook that Leica is truly different and continues to call the photographic and intellectual shots. The book is neither a corporate chronology nor an album; it does not provide technical details, instructions nor
statistics. It directs an emotional spotlight on 99 years of passion and enthusiasm for a small camera developed by Oskar Barnack in 1913/14. The book is not a tribute to the perfection of a product, but to the intensely emotive and legendary images that have been a part of our lives for almost a century.

Legendary cameras, inventors and innovators, great photographers and collages describe Leica and its undying passion for technical innovation and the art of capturing life and the world around us in pictures.

In close collaboration with Leica, the multiple-award-winning publisher 99pages – under the creative direction of AnsgarPudenz, Rainer Schillings and Till Schaffarczyk – has successfully combined images with informative, expressive texts. This anniversary edition is as unique as Leica itself.

I’ve been a devoted Leica enthusiast for the last 30 years – starting off with a classic IIIc Sharksin when I was 16, and have used just about every model since (or so it seems!).

Early last year I took the plunge into the world of Leica digital and bought myself an M9.  The latest digital technology wrapped around a traditional M body was a real attraction for me, not to mention the ability to use both modern and vintage lenses.  As a result, the goal was for the M9 to replace my M-series and screw mount film cameras.

I quickly found out that the M9 was also an ideal traveling companion.  The camera turned out to be quite dependable, and I never gave a backup body a second thought.  Whether I was exploring Europe or North America, the M9 inspired the confidence that I’d get the best images, and worked every day, every time.

In September of this year my wife and I traveled through parts of Arizona and New Mexico.  We thought we’d see the countryside a bit differently this time around, so we rented an old Airstream trailer and a Chevy Suburban from a fellow in Phoenix and hit the dusty trail.

As I’ve normally shot our vacations photos in black and white, this trip was no exception.  It was only natural, given much of the subject matter we encountered – amazing Southwest landscapes, historic sites and of course, Route 66.  My method was to set the camera to shoot both DNG and JPEG basic, with the colour saturation set to black and white.  This made it helpful for me to ‘visualize’ the scenes in black and white.

A few things I learned while traveling with this great camera:

i) Bring a good dust blower.  One thing that I didn’t have with me was a good blower to get rid of dust on the sensor.  This wasn’t so much of a problem during the trip, but later when I was working on the photos at home.  Bottom line, more dust = more time in front of the computer;

ii) Bring an extra battery and the charger.  I don’t know if it’s just me, but I find that the M9’s battery doesn’t last as long as I’d like.  So to avoid being caught on a day hike with a dead battery, I made sure to have a second battery and to keep them both fully charged;

iii) Be sure to have plenty of memory cards!  On this 10-day trip I had six 8GB cards, so I never had to worry about running short of memory;

iv) Travel light!  One of the dangers of travel is the temptation to take too much equipment.  I’ve definitely learned this the hard way (think sore shoulders and a stiff back), and have tried to become a ‘minimalist’ traveler, or at least my interpretation of it!  Along with my M9 body, I brought 4 lenses – my 50/2 Summicron, 35/1.7 Voigtlander, 21/4 Voigtlander and a 75/2.5 Summarit.  I managed to put all of the lenses to use, and never felt overburdened.  This made for a much more comfortable traveling experience, and I was able to truly focus upon the images and not so much the equipment.  Oh yeah, and have a good time too!

My lens of choice during this trip was the 50/2 Summicron – for me this provided the most versatility due to its angle of view, its f/2 aperture, and my confidence in its optical abilities throughout the range.

The light in this region of the United States is incredible – crystal-clear skies, dramatic shadows, and it presents the photographer to make great photos at almost any time of the day.  This can present a bit of a challenge to the photographer, particularly due to the contrasty lighting conditions.  As far as metering goes for most of the photos, I pretty well exposed right down the middle and the camera took care of the rest.  With the M9, I’ve never found it advantageous to under or over expose.  As far as that camera goes (and many others I’ve used), proper exposure was key.

Vince Lupo has been taking photos since he was 12 years old.  Originally from Toronto, Ontario, Canada, Vince has a Bachelor of Applied Arts degree from Ryerson Polytechnic University in Toronto, and a Master of Fine Arts degree from the Savannah College of Art and Design in Savannah, Georgia.  He is also co-owner of Direction One, Inc., a commercial photography firm in Baltimore, Maryland.  He specializes in architectural interiors, food, people, and of course, Leica!  He can be reached through his website, http://www.directiononeinc.com , or email vlupo@directiononeinc.com .

NY Times Photo Info

While visiting the Notre-Dame Cathedral in Reims, France, I sat on a stone bench across from this little prayer area. After a couple of minutes, this lady walked up to the little altar. She just stood there, motionless. Her hair, her dress, her white high heels all seemed to be such a contrast with the rest of the environment. I took about four shots before she walked away. I never did see her face.

Taken with the M9 with a 35/1.7 Voigtlander lens, ISO 400, 1/15^th @ f/2.  This photo appeared in late 2012 in the New York Times. 

The Latest Leica M-E camera (now in stock) is a 18.0-Megapixels Full Frame CCD Sensor Digital Rangefinder Camera that fits Leica M-Mount Lenses. All Metal Die-Cast Magnesium Body, Anthracite Gray Finish with Leather Trim, It features Manual Focus with Optical Viewfinder, 2.5″ TFT LCD with 230,000 Pixels, ISO Sensitivity Up to 2500, Low-Noise Shutter, Included Adobe Lightroom Software. The camera measures (W x D x H) approx. 139 x 37 x 80 mm(5,5 x 1,7 x 3,1 in.) and weight 585 g (20.6 oz).

Same picture quality like the Leica M9/P cameras, for MUCH less money. Plus, the removal of the low-pass filter actually enhances detail and renders a more natural image. Lack of a “Bright Line Preview Selector” doesn’t affect any of the qualities of the M9/P or M-E images. The Anthracite Graytop and base camera is handsome and distinctive, A perfect well priced camera.

Click on the link to order the:

LEICA M-E Anthracite Gray rangefinder digital camera Cat #10759 New USA In Stock !!! Free shipping in (USA only)$5,450.00 

Product Overview:

The M-E Digital Rangefinder Camera from Leica is a full frame, interchangeable lens camera that embodies the notion that less is more. By concentrating on essential photographic functions, the M-E produces high quality images in a fast and stealthy manner. The camera houses a full frame (36 x 24 mm) sensor but retains a compact, durable and well-designed form.

The 18MP CCD sensor in full 35mm format offers high-resolution imaging and the omission of the sensor’s low-pass filter creates photos with fine details and an increased visual impact. The sensor matches well with the compact M-system and M-series lenses, giving uniform exposure across the entire sensor. The camera’s compatibility with the full line of superb Leica M-series lenses provides flexibility in shooting and sharp imagery.

By declining to incorporate features such as Live View and Video functions, the M-E frees itself to perfect only those functions that create a better photographic image. Its fast and accurate manual focusing is achieved via the optical viewfinder/rangefinder and the smooth, exact focusing ring of a Leica lens. Shutter speeds from bulb mode through 1/4000th of seconds can be set manually or automatically determined by the camera. The shutter mechanism is a closed type focal plane shutter with external cocking mechanics and provides a quiet and smooth action.

A 2.5″ TFT LCD screen with 230,000 pixels offers clear image playback and menu control and the camera body itself is an all-metal casing made of die-cast magnesium with an attractive anthracite-gray finish and a real leather wrap which provides a good grip as well as good looks. A hot shoe mount is available for optional flash attachment.

This is an ideal camera for those interested in a pure photographic system which produces uncompromised image quality.

18MP Full-frame CCD Sensor

The highly light sensitive full-frame CCD sensor is ideal for the compact nature of the M-E and the high quality Leica M-series lenses. Uniform light exposure from corner to corner of the sensor provides sharp, high quality images.

Omitted Low-pass Filter

The omission of the otherwise usual low-pass filter ensures that images possess fine details and a particularly natural visual impact.

Optical Viewfinder/Rangefinder

Manual focus is provided through the large, clear, bright-line rangefinder with 0.68x magnification and automatic parallax compensation. The viewfinder’s frame lines match the image sensor size at 3.2 feet (1 m). Split or superimposed image rangefinder is shown as a bright field in the center of the viewfinder image. The eyepiece is adjusted to -0.5 dpt. An LED display is visible in the optical viewfinder showing auto shutter speeds and exposure correction warnings.

Exposure

Exposure metering is Through the Lens (TTL) metering, center-weighted with variable aperture. There are two exposure modes: Automatic shutter speed (Aperture Priority A-mode) and Manual Exposure (M-mode). Exposure compensation is -3 EV to +3 EV in 1/3 stops.

Handsome, Durable Design

Milled brass top cover with all metal, magnesium body. Anthracite-gray finish and black leather trim.

Image File Format and Size

The M-E shoots in both DNG (RAW data uncompressed or nonlinear compressed) and JPEG formats. DNG file size is 18 MB (compressed) and 36 MB (uncompressed). Exact JPEG file sizes depend on resolution and image content.

User Profiles

Up to four sets of camera and exposure settings can be saved under a user-selected profile name and rapidly retrieved whenever required.

Menu Languages

English, German, French, Italian, Spanish, Russian, Japanese, Traditional Chinese, Simplified Chinese

Accessories

All optional accessories compatible with the Leica M9/M9-P digital camera will fit the Leica M-E.

Software

A free Adobe Lightroom software download is included.

Specification

Lens Mount Leica M Mount Camera Format Full-Frame Pixels Actual: 18.5 Megapixel
Effective: 18 Megapixel Max Resolution 18MP: 5270 x 3516

Other Resolutions 18MP: 5212 x 3472
10MP: 3840 x 2592
4.5MP: 2592 x 1728
2MP: 1728 x 1152
1MP: 1280 x 846

Sensor Type / Size CCD, 35.8 x 23.9 mm

File Formats Still Images: DNG, JPEG

Dust Reduction System Y

Noise Reduction No

Memory Card Type SD
SDHC

Viewfinder/Display

Viewfinder Type Optical, LCD Display

Viewfinder Magnification Approx. 0.68x

Diopter Adjustment – 3 to +3 m

Display Screen 2.5″ Rear Screen   LCD (230000)

Screen Coverage 100%

Live View No

Exposure Control

ISO Sensitivity Auto, 160-2500 (Extended Mode: 80-)

Shutter 240 – 1/4000 seconds

Metering Method Center-weighted average metering

Exposure Modes Modes: Aperture Priority, Manual
Compensation: -3 EV to +3 EV (in 1/3 EV steps)

White Balance Modes Auto, Cloudy, Daylight, Flash, Fluorescent (Natural White), Fluorescent (White), Kelvin, Manual, Shade, Tungsten

Burst Rate Up to 2 fps at 18 MP

Summary – The latest ME camera from Leica Co. is well priced , keeping the same quality of the Leica M9 and Leica M9-P cameras allowing new users to join the wonderful Leica rangefinder system for much less… ! The great Leica optic could be used with the Leica ME camera, Compact Asph. lenses like the Leica 28/2,8 Elamrit-M Asph six bit cat #11606 New

Or the Leica 35/ 2.0 Summicron-M ASPH. black (E39) #11879 six bit New  lenses

Leica D-LUX 6 Black NEW Camera$799

• 10.1MP CMOS Sensor
• Ultra Fast f/1.4 Leica Lens
• 3.8x Zoom, 24-90mm Equivalent Lens
• 920K Pixel LCD Display
• Full HD 1080p AVCHD and MP4 Video
• High Resolution Electronic View Finder
• Integrated Neutral Density Filter
• 12 Frames Per Second Burst Shooting
• Manual Aperture Ring
• Panorama Function and Spirit Level

Leica V-4 Digital Camera New$899

• 12.1MP CMOS Sensor
• Leica DC Vario-Elmarit f/2.8 Lens
• 25-600mm Equivalent, 24x Zoom Lens
• 3.0″ Tilt and Rotate LCD
• EVF with 1.3 Million Pixels
• Full HD 1080p AVCHD and MP4 Video
• Less than 1 Second Start-up Time
• Fast Auto-focus and High Speed Burst
• Panorama Feature
• Adobe Lightroom Download Included

Leica M black Digital Camera New $6,950

The Leica M. As the first M camera to implement a newly designed and constructed CMOS image sensor and tofeature additional focusing methods and functions like Live View and Full HD video capability, it is the most versatilemodel ever in the history of Leica rangefinder cameras and sets entirely new standards. It unites the numerousadvantages of innovative digital technology with a rangefinder technology that has been continuously perfected overdecades. At the same time, it remains true to the legendary values of the M-System, while expanding the opportunitiesoffered by rangefinder photography – and, for the first time, offers compatibility with Leica R legacy lenses.

LEICA MAX CMOS SENSOR
The new Leica MAX 24MP CMOS sensor was developed exclusively for the new Leica M, resulting in outstanding imagequality even at high ISO’s for available light photography in difficult lighting situations. This specially designed sensorarchitecture helps to achieve a perfect match between the camera and the Leica M and R lenses.▸ Extremely high image quality at all ISO settings and with all Leica M and R lenses.

LIVE VIEW AND ELECTRONIC VIEWFINDER. / FOCUS PEAKING. / LEICA R ADAPTER M. / MULTI-PATTERN AND SPOT EXPOSURE METERING. /FULL HD VIDEO CAPTURE. / SPLASH WATER PROTECTED BODY. / LEICA MAESTRO IMAGE PROCESSOR. /

LEICA M-E black rangefinder digital camera New$5,450.00

• 18MP Full Frame CCD Sensor
• Fits Leica M-Mount Lenses
• 2.5″ TFT LCD with 230,000 Pixels
• Manual Focus with Optical Viewfinder
• Omitted Low-pass Filter for Fine Detail
• ISO Sensitivity Up to 2500
• Low-Noise Shutter
• All Metal Die Cast Magnesium Body
• Included Adobe Lightroom Software

Leica S (Type 006) 37.5 MP Digital Camera New USA$21,950.00

NEW Leica S (Type 006)   37.5 MP 7500 x 5000 pixel Sensor resolution Digital Camera New USA Cat #10803 

We proudly present a new innovation by Leica Camera, the new Leica S.
The next generation in the successful line, the Leica S offers increased imaging quality and sensor sensitivity,
predictive autofocus, higher speed and improved handling. Numerous enhanced functions contribute to the camera’s
further acceleration and greater security of the professional photographic workflow.
BENEFITS AT A GLANCE
▸ The smallest, fastest and most versatile medium format camera on the market
▸ Outstanding image quality with new, improved imaging system components
▸ Comprehensive portfolio of excellent Leica S lenses
▸ Simple operation thanks to a refined, intuitive, joystick-based control concept

Optimum image quality

The Leica S features a specially designed and more efficient autofocus system. The sensitivity range of its sensor has also been increased: its lowest sensitivity of ISO 100 allows longer working at maximum aperture in bright conditions and the highest setting of ISO 1600 ensures perfect exposures under even the most adverse lighting conditions. Ultimate imaging quality is guaranteed.

Fast and efficient

The 2 GB buffer memory plays a significant role in the increased image-processing speed. It also allows extended sequences to be shot in continuous-shooting mode. The Leica S can capture up to 32 consecutive images in DNG format with lossless compression at a maximum rate of 1.5 frames per second. In JPEG-only mode, the number of images in sequence is limited only by memory card capacity.

Intuitive handling

The intuitive handling concept of the new Leica S gets by with a minimum of control elements. All functions are displayed in a clear and simple layout on the monitor screen and settings are entered with four soft keys and a click wheel. Brand new features of the control concept are a five-way switch in the form of a mini-joystick and an even clearer layout of the user interface.

Integrated GPS

The Leica S is the only professional DSLR to feature an integrated GPS module. This allows the registration of exposure location details in the EXIF data of each image file. Local times and time zones are automatically synchronised. The software provided allows the location and capture time of each image to be plotted on a map.

Informative display

With 920,000 pixels covering the 16.7 million colors of the sRGBcolor space, the 3″ TFT monitor enables bright and clear image viewing and assessment of sharpness, even in adverse lighting conditions. Whenever required, photographers can also superimpose exposure parameters and a transparent brightness or RGB histogram on the monitor image.

Finally tuned ergonomics

Although a heavyweight in terms of technology, the new Leica is a featherweight in the hand. Its compact construction, ideal balance and a comparatively low weight of only 1,260 g are advantages that, along with the ergonomics of the handgrip, the grip characteristics of its armoring and ideal placement of all its controls, guarantee fatigue-free photography.

Dual memory card support

The Leica S has two memory card slots for writing data simultaneously to CompactFlash and SD cards. The advantages: increased memory capacity and faster write speeds. The workflow also becomes easier, as DNG files for processing and JPEGs for image review can be saved separately on different cards.

Leica 24mm F/3.5 Super Elmar S ASPH Lens #11054 New$7,450.00

New Item, Available for pre-order Expected availability: November 01 2012

We proudly present a new lens by Leica Camera, the Leica Super-Elmar-S 24mm f3.5 ASPH.With the Leica Pro format of the S-System (30x45mm), this high-speed super-wide angle lens corresponds to a
19mm lens in the 35mm format. It is the widest medium-format lens on the market. With its wide viewing angle, thisstunning lens opens up a versatile range of image applications, in particular in interior, architecture and landscapephotography. At the same time, the lens is optimized for maximum contrast rendition and highest resolution from open aperture onward, and guarantees a constantly high level of quality from its closest focusing distance to infinity. The extraordinary degree of correction of this optical design is reflected, in its freedom from distortion.

BENEFITS AT A GLANCE
▸ Super-wide-angle lens with an extreme angle of view
▸ Minimal distortion
▸ Maximum contrast reproduction, and resolution at all apertures over the entire distance range providing
crisp images
▸ Brilliant, pure color reproduction
▸ Excellent stray light suppression for high-contrast images, even in backlight situations
▸ Sealed against dust and splash water.

LEICA 30-90mm f3.5-5.6 ASPH Vario-Elmar-S Cat #11058 New$9,950.00

New Item, Available for pre-order Expected availability: November 2012

We proudly present a new lens by Leica Camera, the Leica Vario-Elmar-S 30-90mm f3.5-5.6 ASPH.
With the Leica Pro format of the S-System (30x45mm), this compact standard zoom lens corresponds to a 24-72mm
lens in 35mm systems. It is the only 3-times zoom lens in the digital medium-format market.
The Leica Vario-Elmar-S 30-90mm f3.5-5.6 ASPH.combines a very versatile range of focal lengths, compact
dimensions and low weight with excellent image quality over the entire focal length range, from infinity to close-up, at
widest aperture and stopped down. Its performance makes the lens a full-fledged alternative to fixed focal-length
lenses. The lens is primarily characterized by its compactness and light-weight; it boosting the photographer’s
flexibility, particularly in travel, fashion and photo journalism.

BENEFITS AT A GLANCE
▸ Versatile, compact standard zoom lens
▸ Maximum contrast reproduction, and highest resolution at all apertures over the entire distance range provide crispimages
▸ Brilliant, pure color reproduction
▸ Compact and light weight
▸ Excellent stray light suppression for high-contrast images, even in backlight situations
▸ Sealed against dust and splash water

LEICA TS-APO-Elmar-S 120mm f5.6 ASPH. Cat #11079 New $6,950.00

New Item, Available for pre-order Expected availability: January 2013

We proudly present a new lens by Leica Camera, the Leica TS-APO-Elmar-S 1:5.6/120mm ASPH.
Similar to the movements of a view camera, the Leica TS-APO-ELMAR-S 120mm f5.6 ASPH., gives the photographer complete control over the perspective and the focal plane. The lens is characterized by an image circle increased by 153mm, which means that the lens can be shifted by up to 12 mm from the optical axis in any direction. This allows the user to change the view without changing the perspective, thus supporting, for example, product shots without irritating converging lines.
Independent of the shift, you can tilt the lens by up to 8° in any direction, thus tilting the focal plane in line with Scheimpflug’s principle.

BENEFITS AT A GLANCE
▸ Tele-tilt-shift lens for high-accuracy perspective and focus control
▸ Large tilt range for maximum depth of field (Scheimpflug principle)
▸ Parallel shift to correct converging lines
▸ Precise stitching
▸ Maximum contrast, and resolution at all apertures over the entire focusing range
▸ Brilliant, pure color reproduction

The exterior of the Leica TS-APO-Elmar-S 120mm f5.6 ASPH.is different from that of other S lenses, due to its special design as a tilt/shift lens.

The lens has a total of four rings for tilt and shift, one turn-and-slide ring each for adjusting the tilt and shift directions, and one ring each for adjusting the tilt and swing respectively. It additionally features a tripod plate with a 1/4″ and a 3/8″ thread, which allows the user to fix the lens in any orientation thanks to the rotating clamp and clamping screw.
The lens’s large image circle simultaneously supports a shift of up to 12 mm and a tilt of up to 8°. Both the tilt and the shift mechanisms rotate through 360°, so that the respective adjustments can be made in any direction and independently of one other.

Applications:
▸ Product
▸ Advertising
▸ Still-life
Scope of delivery Leica TS-APO-Elmar-S 120mm f5.6 ASPH.
Lens with lens hood, rear cap, front lens cap E95, lens pouch, manual, warranty card, test certificate

LEICA Elpro-S 180mm Cat # 16032 New$1,450.00

The close-up converter Leica Elpro-S 180mm is designed exclusively for use with the Leica APO-Elmar-S 180mm f3.5 (CS), and is screwed into the filter thread of the lens. Exposure settings are identical for the lens without the
converter. With the Leica Elpro-S 180mm fitted, you can focus in the range of 1.1 to 2.7m (3.6 – 8.8’), and achieve a maximum magnification of 1:4.5 at the minimum focusing distance. The imaging quality of the Leica Apo-Elmar -S 180mm f3.5 is maintained at all aperture and focus settings.The combination of the Leica Apo-Elmar -S 180mm f3.5 and Leica Elpro-S 180mm is ideal for beauty and close-up shots with an elaborate lighting setup.

BENEFITS AT A GLANCE
▸ Close-up converter for the Leica Apo-Elmar-S 180mm f3.5 (CS)
▸ Reduces the minimum focusing distance from 1.5m to 1.1m ( 5 – 3.6’)
▸ Magnifies the image scale from 1:7 to 1:4.5

Applications:
▸ Beauty
▸ Close-up portraits
▸ Product
Scope of delivery Leica Elpro-S 180mm.
Lens with lens hood, rear cap, front lens cap E95, lens pouch, manual, warranty card, test certificate

Technical Details
Lens type Close-up converter for Leica Apo-Elmar-S 180mm f3.5, compatible with all Leica S camera models
Optical design Number of lens elements/groups: 2/2
Focus Working range 1.1 m to 2.7 m (3.6 – 8.8’) lens range 1.5 m to infinity
Smallest object field/largest scale: approx. 159x239mm / 1:4.5
Filter mount E72
Surface finish Black anodized
Dimensions Largest diameter approx. 76mm
Weight approx. 230g (8 oz)

Shimrit Shoshan, a highly regarded up-and-coming Israeli pianist on the NYC scene, died Aug. 19 at Columbia Presbyterian Hospital in New York. The cause, according to her press representative, was cardiac arrest. She was 29.

As stated in a news release circulated today, Shoshan began playing organ and flute at age 8 and eventually matriculated at the Thelma Yellin School of the Arts (also the alma mater to young Israeli jazz greats like the Cohen siblings). She came to New York in the 2000s, studying at the City College of New York and the New School. Her teachers included Kenny Barron, Reggie Workman and Charles Tolliver. Shoshan appeared at some of the best jazz rooms in New York City, and in 2009 was a finalist in the Thelonious Monk Institute Ensemble Competition and the Mary Lou Williams Women in Jazz Competition.

Shoshan played a well-reviewed early morning set at the 2011 Winter Jazz Fest in NYC, and her self-released debut, Keep It Movin’, featured a top-notch lineup including Eric McPherson, Abraham Burton, John Hébert and Luques Curtis. After the album’s release, Shoshan explained to JT’s Aidan Levy the level of commitment a good recording requires. “It takes a long time to release something very personal to you. A lot of mental work is, am I ready to do this?” she said.

A memorial event will be held this Sunday, Aug. 26, at Smalls Jazz Club at 5 p.m. Another event is slated for Le Poisson Rouge sometime this fall.

Better News is that I have one!  (Thanks to my long time “Leica pusher” and good friend Sam, here at the Classic Connection).

Caveat: I just got this, so have not employed it on a paying assignment yet, nor will I do so until I’ve played with it for some time to be sure of it. Therefore you will have to excuse the mundane “snapshots” used to illustrate the adapter in action (except the “fitness” shots used to illustrate high speed flash sync). .

Introduction to the Leica H to S mount adapter:

For those not familiar with the H to S unit recently announced by Leica, be aware that this is no typical “dumb” adapter, nor a rinky-dink third party cobbled together piece of MacGivver gear requiring you to disassemble an expensive lens. It is an extremely well made, fully functional electronic data-bus adapter that allows full use of Hasselblad H mount Leaf Shutter lenses with AF, and convenient open aperture shooting/metering … thus offering a very comprehensive line up of Hasselblad medium format focal lengths from 28mm to 300mm. This includes some focal lengths either not yet available in the S line, or ones not currently planned.

So, the S system user now can employ the current S-30mm. 35mm, 70mm, 120mm 180mm … Plus, the HCD/28mm, HCD 35-90, HC 35mm, 50mm-II, 50-110mm, 80mm, 100/2.2, 120 Macro with 1:1, 150N, 210mm, and 300mm. 16 lenses total. In addition to being a S2 shooter, I also use a Hasselblad H4D/60 and have a decent spread of the HCD and HC lenses. (the “D” in HCD means Digital design, with a slightly cropped coverage compared to the HC lenses, which are FF 645 coverage. This is of no consequence to the S2 user because the S sensor is fully covered by the HCD lenses)

When mounted to the S2, each of the H mount lenses can be used in FP mode (Focal Plane shutter down to 1/4000 shutter speed) … or CS mode (Central Shutter, a leaf shutter located in the lens, which allows flash sync down to 1/750 Shutter speed)  Here are a few H lenses available for use on the S2:

Now the first question that comes to mind is why would Leica do this? They are a premiere maker of optics, and the S line-up is all ground up designs specifically made for demanding digital photography.

Well, as a working professional I can provide some over-all answers, and a few specific ones.

Generally speaking: the current S line-up, while fairly well spread out, consists of 5 basic focal lengths … however, IMO, few working photographers will spring for both the S-30 and S-35 at the price of these lenses because, while different, they are pretty close to each other. So, in effect most S2 users have 4 focal lengths to work with, which can be somewhat constricting depending on the diversity of work being done, the lens draw effect you want, and the space you may be shooting in.

Another general aspect is that all of the H lenses are Leaf Shutter optics. Important for some because high sync speeds with studio strobes is a big deal for many advanced enthusiasts using so called “strobists” techniques of off-camera lighting, and working professionals using extensive strobe systems in studio and on location. Leica has been slow to get their Leaf Shutter CS lenses to market, and even then it is still a somewhat restricted line-up of focal lengths.

High sync speeds using full power studio type strobes, or portable battery strobes, should not be confused with High Speed Sync mode (HSS) on the SF58 speed-light. SF58 HSS is accomplished by pulsing the light, which further weakens the amount of light reaching the subject, from a source that is already demure even at full power compared to the average strobe light. High speed sync with strobe lights allows the photographer to control the effect of the ambient … and even use wider apertures, or overpower the sun, or totally kill the effect of stray ambient by using down to 1/750 shutter verses the 1/125 of the S2 in focal plane shutter mode.

For example, here is a studio “fitness” shot of a figure competitor using high shutter speed sync to kill the ambient light in my studio, which is white and brightly lit by windows and a skylight … and another of the same woman outdoors using a higher sync speed to control the ambient level on a recent bright summer morning. Profoto lighting was employed in both cases.

Lastly, the H system is pretty wide spread and has been available for quite some time. However, the user of the H system is completely relegated to Leaf Shutter work, and the H cameras currently do NOT offer a focal plane option. This has restricted the H user to a top shutter speed of 1/800^, and we have to employ ND filters to use faster apertures such as f/2.2 in bright ambient light. The S2 is a dual shutter camera and can do both. So, the HC and HCD lenses can be used at higher shutter speeds down to 1/4000 for the first time ever, making the S2 an attractive option for owners of a Hasselblad system.

Specifically speaking, some of the H lenses perform functions their S counterpart does not.

 The HC 120/4 Macro focuses down to a 1:1 ratio, where the wonderful S-120 does 1:2. Literally, this means if you shoot a close-up, the object shot with the H macro can be captured twice as big as the same object captured by the S macro. I currently have the first version of the HD 120/4, but will be upgrading to the tweaked MK-II version soon, so it should be even better on the S2. However, that is driven more by the demands of the H4D/60 than the S2. I do not think there is enough of a difference for the S2 user, and the first version of the HC 120 Macro is fine on the S2 for those wishing to get closer.

The HCD 28 lens may be the widest lens with a Leaf Shutter that we can use on the S camera. I do not have the S-30mm to compare actual coverage, but the HCD28 is considerably wider than the S-35mm that I do have. Leica has stated that the planned S-24mm will not be available with a Central Shutter. Attached here are a few quick snaps showing the difference in coverage from the samevantage point using the HCD28 and S-35. If I ever get a chance to use a S-30mm I will compare coverage, but I suspect the HCD28 will still be a tiny bit wider.

The other specific relates to focal lengths … the jump from S-35mm to S-70mm is a fairly substantial one … filled by either Hasselblad’s HCD 35-90 Zoom, or more specifically the HC 50/3.5-II. IMO, the 35-90 zoom is a beast of a lens, and while convenient, is quite a handful. It is very good optically, but IMO defeats the S camera’s big advantage compared to other medium format cameras: size and bulk. I prefer the much smaller HC 50-II to fill the gap with an approximate 35mm field of view as measured in 35mm terms. 35mm is a focal length I use a lot with other cameras, and I relish the idea of now using it on the S2. Be aware that the newer 50-II is the one to seek. It is a substantial improvement over the previous HC 50mm. Knowing Leica folk and their optical demands, I’d suggest going for the MK-II version.

Then there is the HC 100/2.2 … not only a focal length unavailable in the S line, and fitting nicely between the S-70 and S-120mm … it also provides the fastest aperture you can shoot with an S2. This lens is renowned for its character … both it’s buttery Bokeh, and gentle roll off from in-focus to out-of-focus areas. It also happens to be wickedly sharp. Here’s a S2- 100/2.2 snap of my doggie:

For longer lens users, there is the HC210 and 300mm optics. Sorry, I sold my HC 300mm so cannot provide samples of it shot on the S2. However the HC 210 is an unsung optic that reaches out a bit more than the S-180. It also has a very nice character and used a lot by professionals to do head shots and other portraits. For such a long focal length, the HC-210/4 focuses very fast on the S2.

General notes:

Lens Profiles: distortion, vignette, and CA corrections are possible for each of the Hasselblad HCD and HC lenses. These profiles are available from Leica and can be loaded into the Adobe Light Room software. Some people have questioned why software has to be used … well, because there is no such thing as a perfect lens … and while some of the S optics get pretty close, even they benefit from software correction profiles … which are also available in Light Room under Leica Lens Corrections.

Auto Focus: So far the S2 auto focus of the HC and HCD lenses seems on par with normal use on a Hasselblad camera with two exceptions:  My H4D/60 has an on-board AF assist light for use in low ambient conditions which the S2 does not; and the Hasselblad camera performs their “True Focus” function that micro-adjusts for focus shift when stopping down … something I doubt Leica was able to incorporate. For the most part, the AF was fast and accurate … more or less fast depending on which lens and what the ambient conditions were.

Color rendition: So far, I’ve noted a slightly warmer rendition between the H lenses compared to the S optics using the same camera settings. Just an ever so slight yellow as opposed to red. This is actually a bit desirable for me because it affects skin tones in a positive manner, where the cooler Leica rendition sometimes produces an ever so slight magenta cast to skin. Using manual white balance virtually eliminated this difference.

Price: This adapter is quite expensive, which most Leica users are used to. How Hasselblad users will view it depends on the degree of functionality they can get from securing a S2 and this adapter and how many H lenses they may already have.  I would think that as a S2 and H4D user I’m the rare exception where the value is obvious and the price well worth it to expand both the use of the H lens system I already have, and expanding the versatility of the S2 camera I already use.

That Leica did their home work by providing profiles specific to the S sensor size, and made this a seamless, well made tool to expand the functionality of the S system is a remarkable achievement.

July 30, 2012

Marc Williams

Fotografz, LLC

www.fotografz.com

The app for the latest issue of the S-Magazine is now available on the Apple App Store.

The S-Magazine is a platform for photographers to publish their current commercial works. Photographers Beau Grealy, Jonathan Mannion, Christopher Kutner, and the newcomer duo, Kirchknopf+Grambow, show how versatile the S2 is – both on location and in the studio.

Markus Tedeskino photographed with the new central shutter for the first time, showing the creative possibilities that no other camera system currently offers. With the new S adapter H, Hasselblad‘s H lenses can now also be applied to the S2 – Thomas De Monaco tested this combination.

The iPad app and website S-League.net complement the classical magazine format and regularly present international photographers’ latest works.