All posts by Classic Connection

The NEW SL-Lenses / Three prime lenses and a zoom !

Posted by: Classic Connection

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The NEW SL-Lenses  A brilliant outlook for 2017 !!

The new 35 mm, 75 mm and 90 mm Summicron prime lenses reflect the latest advancements in the development of lens technology for the Leica SL, with lighter and more compact construction, coupled with improved optical design. Not only do these new lenses exceed the exceptional imaging performance of the first generation of SL-Lenses, but they also offer a considerably shorter closest focusing distance.

The new Leica Super-Vario-Elmar-SL 16-35 mm f/3.5-4.5 ASPH. ultra-wide zoom expands the existing portfolio of SL zoom lenses. For landscapes and architecture, shooting at events, concerts or weddings, or even for reportage and documentary work: the enormous versatility of this lens makes it the ideal companion whatever and wherever you shoot and – thanks to its dust and weather-sealed construction – even in the most challenging and adverse photographic conditions.

Leica APO-Summicron-SL 75 mm f/2 ASPH.: Available from summer of 2017
Leica APO-Summicron-SL 90 mm f/2 ASPH.: Available from autumn 2017
Leica Super-Vario-Elmar-SL 16-35 mm f/3,5-4,5 ASPH.: Available from winter 2017
Leica Summicron-SL 35 mm f/2 ASPH.: Available from beginning of 2018

 

Check out our web site for current SL System inventory ( click link)

Leica Sofort Instant Film Camera Mint / White & Orange New

Posted by: Classic Connection

Leica Sofort Instant Film Camera Mint / White & Orange New

Image 1     Leica Sofort Instant Film Camera (Orange) Cat # 19102 New    Image 1

 

 

PRODUCT HIGHLIGHTS

  • Accepts instax mini Instant Film
  • Automatik-Hektor 60mm f/12.7 Lens
  • 34mm (35mm Equivalent)
  • 3-Zone Manual Focus System
  • 37x Optical Viewfinder with Target
  • Built-In Flash & Mechanical Shutter
  • Multiple Automatic Shooting Modes
  • Exposure Compensation of ±0.7 EV
  • Macro Mode Focuses to 11.8″; Self-Timer
  • Rechargeable Li-Ion Battery Pack

 

introducing its first instant film camera, Leica has released the Sofort: a distinctly Leica-esque camera built for fun, ease of use, and creating shareable prints on the spot. The unique design of the camera utilizes instax mini-format film, and the colorful squared profile of the camera incorporates a 0.37x-magnification optical viewfinder and an Automatik-Hektor 60mm f/12.7 lens, which provides a 34mm equivalent focal length for a standard wide-angle perspective. The lens’s design permits zone focusing in three ranges, down to 11.8″, via a lens ring, and the standard Program shooting mode allows for +/-0.7 EV exposure compensation and flash mode control, including a second curtain setting for more natural results. The camera is powered by a rechargeable Li-ion battery pack that provides up to 100 shots on a single charge. For more creative shooting, there are also dedicated Self-Portrait, People & Party, Action & Sport, Bulb, Macro, Self-Timer, and Double Exposure modes. Complementing its playful intentions, the Leica Sofort is available in : Mint , White & Orange In addition to the camera itself, Leica is also releasing a slew of accessories, including its own Leica Sofort Color Instant Film & Leica Sofort Monochrom Instant Film Pack , which both feature distinct warm-white-colored borders to provide a classic appearance for each image. Additionally, you can deck out your camera with protective Brown or Black cases, or matching white, mint or orange neck straps Additionally, you can deck out your camera with protective brown or black cases, or matching whitemint, or orange neck straps. And for the Sofort enthusiast, a postcard set, photo album, box set, and photo presenter are all also available to highlight Leica’s entrance into instant film photography.

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Leica and ONA present an exclusive collection of premium camera bags

Posted by: Classic Connection

Leica Camera and ONA announced an exclusive collection of of camera bags.

Shipping will start in November to Leica dealers.

Leica Camera and ONA present an exclusive collection of high-quality, premium camera bags

To celebrate the 100th anniversary of the legendary 35mm camera in 2014, ONA – an American manufacturer of premium camera bags – created ‘The Berlin II’, a bag designed especially for the Leica M-System. As a follow-up to this collaboration, the two companies have once again joined together to present the ‘ONA FOR LEICA’ collection, featuring six distinctive models crafted by ONA. Each piece will be lined in red and will feature a red rivet, as a discreet reference to Leica. The series will be offered exclusively by Leica Camera AG in a range of materials and color combinations.

About ONA

ONA is a purveyor of fine bags and accessories designed for, and inspired by, photographers and creative professionals.  Each bag is meticulously hand-crafted from the highest quality materials, conveniently sized, built to last for years, with a particularly attractive, minimalist design. The bags provide durable protection for precious Leica cameras and lenses while reflecting the photographer’s inimitable personal style.

Leica and ONA present an exclusive collection of premium camera bags  *(click for more info)

Leica Collection by ONA, Berlin II M-System Leather Camera Bag - Black Cat # 14917 NEWLeica Collection by ONA, Berlin M-System Leather Camera Bag - Vintage Bourbon Cat # 14916 NewLeica Collection by ONA, Bowery Camera Bag - Black Cat # 14903 NewLeica Collection by ONA, Bowery Camera Bag - Field Tan Cat # 14904 NewLeica Collection by ONA, Bowery Camera Bag - Smoke cat # 14905 NewLeica Collection by ONA, Bowery Leather Camera Bag - Antique Cognac Cat # 14901 NewLeica Collection by ONA, Bowery Leather Camera Bag - Dark Truffle Cat # 14902 NewLeica Collection by ONA, Brixton Camera Messenger Bag - Black Cat # 14913 NewLeica Collection by ONA, Brixton Camera Messenger Bag - Field Tan Cat # 14914 NewLeica Collection by ONA, Brixton Camera Messenger Bag - Smoke Cat # 14915 NewLeica Collection by ONA, Brixton Leather Camera Messenger Bag - Antique Cognac Cat # 14911 New

 

 

Leica 28 mm f/5.6 Summaron-M Cat # 11695 New USA

Posted by: Classic Connection

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SP $2495 Pre-Order lens / Please call 1.888.534.2272 to order.

Leica Summaron-M 28 mm f/5.6 a classic lens reborn!

Leica Summaron-M 28 mm f/5.6, a reincarnation of a classic lens design and the most compact M-Lens to date. The Summaron-M is modeled after the original screw mount Summaron 28 mm f/5.6 lens produced at the Leitz factory in Wetzlar from 1955 to 1963. The new Leica Summaron-M 28 mm f/5.6 is recreated with an M-bayonet mount, 6-bit coding and a slightly revised mechanical design but no changes to the optical design itself. Each lens will be a special order item, made only after an order has been placed.

The Leica Summaron-M 28 mm f/5.6 offers the following benefits :

  • Optical design similar to the original Summaron 28mm f/5.6 lens
  • Most compact M-Lens, with an overall length of about 3/4” (less than 2cm) is unobtrusive and ideal for street photography
  • Provides unmistakable imaging signature which otherwise cannot be reproduced by digital means
  • Through its combination of large depth of field, natural contrast, excellent rendition of details, and visible vignetting, the Summaron-M gives images a unique character, reminiscent of analog photography
  • Combination of a clearly laid out depth of field scale and long focus throw allows precise and easy zone focusing
  • Depth of field scale is colored in red
  • Assembled by hand from top quality materials and finished in Silver Chrome
  • Made in Germany and delivery scope includes metal lens hood and cap.
  • The design and manufacturing process of the metal lens hood has ben recreated to match the original Summaron lens. It is first machined from solid brass and then given its ultimate form by a turning and bending process.
  • Pre-Order with a 10% down payment.

Leica 28 mm f/5.6 Summaron-M Cat # 11695 New USA

leica-28-mm-f5_6-summaron-m-cat-11695-new-usa-5  leica-28-mm-f5_6-summaron-m-cat-11695-new-usa-3 leica-28-mm-f5_6-summaron-m-cat-11695-new-usaleica-28-mm-f5_6-summaron-m-cat-11695-new-usa-2

LEICA Q TITANIUM GRAY Cat # 19012 New USA

Posted by: Classic Connection

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SP $4495 / FREE shipping (In the US) We are accepting orders, should be in stock soon!

LEICA Q TITANIUM GRAY Cat # 19012 New USA

Stylish design option

A brand new, alternative design to our classic full-frame compact camera with fast lens has arrived – the Leica Q Titanium gray. Offering the same impressive performance and technical specifications of the original model, this stunning camera has an elegant and unique look all of its own. The top and base plate, and back of the camera, are finished in a premium titanium gray lacquer. The Leica logogram and controls remain in subtle black, while the distance scale in feet and the focal length on the lens are highlighted in red. Its colour-coordinated carrying strap has been manufactured from strong material most commonly used to make professional climbing ropes. A truly eye-catching and stylish companion.

The Leica Q Titanium Gray, an additional color variation to the Leica Q (Typ 116).The Leica Q Titanium Gray, while technically identical in specification and operation to the current Leica Q (Typ 116), features a titanium color lacquered top plate, bottom plate and rear case with the lens, control dials and buttons in black. With its fast lens, easy and intuitive handling, the Leica Q gives the photographer the creative freedom that makes the difference. With a full frame sensor and the Summilux 28 mm/f1.7 ASPH lens, the Leica Q is ideal for street, architecture and landscape photography.

KEY BENEFITS

Unique Titanium Gray lacquered finish

Full frame 24 megapixel sensor

Easy and intuitive handling with fast lens

Fastest autofocus Outstanding craftsmanship

Easy, instinctive use with touch screen control

Minimalist design

Integrated Wi-Fi and Leica Q-App makes it easy to share pictures

Range of classic and timeless accessories

Adobe® Photoshop® Lightroom® available as free download

 

 

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Celebrating a decade of digital M photography

Posted by: Classic Connection

Trade-up to a new M camera!

Leica Camera celebrates a decade of digital M photography with a trade up program to a new M camera* from today, June 17, 2016 through September 30, 2015.

Leica cameras are built on more than a century of continuous innovation and evolution. The M system looks back on 62 years of experience. An icon that has captured many of the world’s most memorable images, documenting history and inspiring generations of visual storytellers. It is fitting that this milestone is marked with a customer promotion for M cameras*.

With the trade up program, customers can trade up from any camera with a Leica dealer to a new Leica M camera* except the Leica M (Typ 262) and Leica M-D (Typ 262).

The customer will receive $750 from Leica Camera Inc. after the new camera is registered with Leica Camera Inc.

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How the trade-in program works:

Send us (or bring) your old used camera for trade up, we will determine the value of the trade-in camera. (Generous offer for ANY camera!! Please Call sam 1-888-534-2272 or email Sam@classicconnection.com)

This value would be put towards the cost of the new M camera the new M camera. Once registration of the new camera is completed you will receive from Leica USA a check for US $750

(All registrations and check requests will take eight weeks to process and will be mailed to addresses in Canada and USA.)

 

Sam Shoshan

Classic Connection LLC.
2490 Black Rock Turnpike, # 420

(by appointment only )

Fairfield CT 06825

Phone:Toll free:1-888-534-2272

Phone: 203-371-2352 or 203-371-2353

Web- www.classicconnection.com  or  www.LeicaSam.Com
Email- sam@classicconnection.com
ISR/ 08-372-0898

Leica S 007

Posted by: Classic Connection

The first medium format digital I owned was the Contax 645 with a Phase 25 back. I liked the Contax, but it was a retro-fitted MF SLR and a little clumsy to work with. When the Leica S2 came out I pounced on it. It felt great in hand. The ergonomics reminded me of my all-time favorite SLR, the Leica R8. The files were great, the color rendering fantastic and the German Leica lenses being stellar, offered up sharp almost analog feeling images. I thought the camera was incredibly well thought out, with a minimalist approach to sub-menus, and no extraneous features, like face recognition. There were however, executional flaws. The camera had one, non-movable focusing point. The continuous frame rate was slow, a hair over 1 per second, the buffer often got overwhelmed in sequential shooting, and the noise reduction, which could not be disabled, caused the camera to lock up on me on more than one occasion – once during an aerial assignment. I had to remove the battery – while in the helicopter – let the buffer dump and reinstall it. I started shooting again right away but at a slower pace. That seemed to help. The other BIG issue is Leica service. I sent my S2 to Germany for service a couple of times and it was glacial. On one occasion I waited three months to get my camera back. Yes, Leica did loan me a body, paid for shipping both ways (my camera was an S2P and had a loaner provision in the warranty) but I am always fearful of something happening to a loaner. For that reason only, I am holding on to the old S2-P body, just in case. When the second generation of the Leica S was announced and I read of the feature changes, I yawned, there was not enough to compel me to drop another 20K on a new body. Then, the third generation, the 007 was announced. The list of enhancements was enough to make me call Sam Shosan and ask “what do you know about the new S?” What he did know was that it was going to be a major revision, what he didn’t know was the availability. As is typical with Leica products announced delivery dates are a wishful fantasy and actual delivery dates can be years away. Originally announced for delivery in the fall of 2014, I got mine Christmas eve of 2015. Sam’s running joke is that Leicas are made of unobtainium.

My first impression of the new S 007 is quite favorable. I think it has almost everything I would want in it, as well as 4K video, which I personally have no use for. Here, so far, are my favorite enhancements to the new Leica.

#1 with a bullet is live view. Love it. I have had it on on my DSLRs for years, but it took three generations of the S to bring it forward with the CMOS sensor, I suppose for video function.

#2 on my personal hit parade is the movable focus point in live view, unfortunately only in live view. It also has focus peaking, another touch I like and one can even customize the peaking color.

#3. Reviewing and magnifying images is much easier now with the joystick. You can jump right to 100% magnification or magnify in steps using the shutter speed dial and easily move around the image with the joystick. I love how easy this is. In the S2 it is a multi step process.

#4 is the new display. The display on the S2 was only 490,000 dots, when I magnified some images I thought I was out of focus. When I got back to my computer I saw they were sharp. Fortunately I hadn’t deleted any in camera. To be candid, that sort of undercut my confidence when I was working. The new display is 921,000 dots, I can see clearly now.

#5. The ISO range on the camera has been greatly extended. It is now 100 – 12,500 plus AUTO. On the S2, it was 160 – 1250, plus AUTO. I don’t know about you, but I am impressed.

#6. The Buffer, boss, the Buffer. The Bond edition is capable of 3.5 frames a second, for a medium format camera, that is outstanding.

#7. Wi-Fi? Yes there is an app for that. Apple has the Leica S app with pretty much full control of the camera from your smartphone. Just set up a wifi network between the camera and phone or tablet.

#8 GPS. I don’t know that I would ever use this feature, but it is nice that Leica has included this and Wi-Fi without additional add-on gear.

I often say I don’t need to know how sausage is made to enjoy it. In the same vein, I have never been much of a gear head when it comes to cameras. As long as they have the features I need, produce sharp, high quality images and are reliable, I am happy. For those of you who want to know the salient geek-aspects of the camera I offer up the following from Leica’s manual, leaving out the video aspects for the time being.

  • 30X45MM CMOS sensor, 37.5 MP
  • Shutter speeds, 1/4000 to 32 seconds
  • Dynamic range 13 stops
  • 16 bit color depth
  • No Deep Pass filter
  • Buffer – 2 GB, 14 RAW image maximum per burst
  • CF and SD card storage
  • Spot, center-weighted and multi-field metering
  • Focus detection: Phase detection or contrast-based in live-view
  • AFs (single) AFc (continuous) MF (manual focus). AF manual override
  • Viewfinder field of view is 98%
  • 3″ monitor TFT LCD, 16m colors, Corning Gorilla glass, 170 degree viewing angle
  • Self timer at 2 and 12 seconds
  • Intervalometer
  • GPS
  • WLAN (Wi-Fi) for remote camera control via smartphone or tablet app.

The Leica S 007 at work. This was the first set-up photo taken with my new S 007. I used the 120MM Makro Summarit-S, F11, 1/12th sec. (mirror up), ISO 200, available light. I used the live view so I could place the focus point on the magazine’s masthead. Perhaps Leica can do a firmware update to enable the movable focus point in standard view. Nah, that would make too much sense.

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Next is a head to head comparison, or as close as I could get, of higher ISO images with both the S2-P and the S 007. The S2-P as mentioned earlier has a 1250 ISO limit, so the closest I could get to that on the S 007 was 1600. White balances are matched at 3950, I tried to keep the shooting position as close as possible and there are no crops or curve adjustments in the images. Exposure was 1/30 @ F8 on both cameras.

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This is the image from the S2-P

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This is the image from the S 007

To my eye the image from the new Maestro sensor in the S 007 is cleaner. There seems to be a slight greenish bias in the original S2. A detail of the images shows that both cameras handle noise well, but the S 007 image is cleaner even with the 350 ISO differential.

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S2-P detail

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S 007 detail

For each new generation of high end cameras we see an increase in the dynamic range of the sensors. I took this shot, handheld, which shows the high ratio of highlight to shadow with the Summarit S 35MM, 125 @ 6.8, ISO 200. I used the multi-point metering and made no exposure compensation adjustments. This is the image as it came out of the camera, except for corrections for vertical and level.

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This is the same shot processed only in Lightroom. I did not change the exposure. I used AWB, set highlights at -59 and shadows at 84. I adjusted the clarity to 21 and fine tuned the orange, yellow, blue and aqua sliders. Notice that there is no CA anywhere in the shot.

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I then took the image into Photoshop for a little more post-processing, neutralized the tone and gave the image a bit more snap. Were I shooting this for an assignment I would have taken more than one frame and used fill light, but the point of this photo is to show the dynamic range of the Maestro sensor in the S 007.

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I recently took a trip to San Francisco and the Napa Valley and took my S (007). Of course I had to take the long view tourist shot of the Golden Gate Bridge in a night time fog,

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as well as this alternate view from Fort Baker at the foot of the bridge across from San Francisco.

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Excepting the effects of the fog itself on the image, the color rendering and resolution were impressive. Both of these shots were done with AWB, minor corrections were made to curves.

Night shots of bridges are always impressive so the next day I went to Muir Woods to see if I could find a nice shot of the redwoods. The lighting was flat, cloud cover was heavy, but I dd take a detail shot when a bit of soft light broke through and backlighted the trees.

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What trip to Napa would be complete without vineyard shots. Again, the Leica S did not disappoint.

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Aboud Dweck

I started my career over 37 years ago as a portrait photographer. I photographed joyous occasions in peoples lives; baby’s birthdays, family reunions, weddings and Bar Mitzvah as well as individual portrait studies. After about 8 years of that work, I wanted to change directions so when my lease ended I moved to an artists’  enclave on Rhode Island Avenue in Washington D.C. and made the transition to advertising and editorial photography.  In the beginning my work was editorial and people oriented. I photographed political heavy weights during the Reagan administration,  Libby Dole, Ed Meese, Robert Bork, Ralph Nader and others. On the opposite side of the spectrum were my portraits of jazz and blues icons Joe Williams, Branford Marsalis, Maynard Ferguson, B.B. King and more. In the next few years, as I was taking on more advertising and corporate clients, my work got more diverse. I was shooting everything from exploding soda bottles for Dart Industries to stunt pilot Sean Tucker doing barrel rolls over the treetops in Pennsylvania. That, by the way, was the start of my interest in aerial photography. I’ve always had a strong interest in architecture, the way light plays on structure and space. At first it was an added component in my other work. For the past eight years architectural images have made up 80% of my work load, the rest going to travel and aerial photography. I work closely with architects and developers with the goal of replicating in photographs, the natural ambiance of their projects as originally conceived. 

I am currently putting the final touches on my first book,”Home Again”  a study of Washington’s iconic venues, memorials and monuments. Publication should be by the end of the year. 
 
www.abouddweck.com

 

Vince Lupo Bio

Posted by: Classic Connection

Vince Lupo is originally from Toronto, Ontario, Canada, and has been involved in photography since 1978. He’s been a committed Leica user since 1982.

Vince has a Bachelor of Applied Arts degree in photography from Ryerson Polytechnic University in Toronto, and a Master of Fine Arts degree in photography from the Savannah College of Art and Design in Savannah, GA, USA.  In 1997, Vince founded his own commercial photography firm, Direction One, Inc., based in Linthicum, MD, USA.  Vince’s black and white work is represented in Maryland by KH Art Consulting, and in New Mexico by Ghostwolf Gallery.

Vince’s website is http://www.directiononeinc.com , and he can be reached at vlupo@directiononeinc.com .

246 vs SL

Posted by: Classic Connection

As a devoted and avid user of all things Leica, I’m always on the lookout for the latest and greatest from that venerable camera and lens maker.  So it came as no surprise that my heart went pitter-patter upon seeing the Leica SL on their website.

Its features sounded impressive – mirrorless, high-quality EVF, touchscreen, low ISO capabilities, GPS, 4K video, solid and hefty aluminum body, new AF zoom lenses, and most important (for me anyways) the ability to use M-lenses with the camera.

It sounded like the (yet another) perfect Leica for me, strictly by reading the specs and online reviews.  But wait, didn’t I just purchase my Monochrom 246 less than a year ago?  Was I willing to give up this stellar camera so soon in favour of another?  And one that I’ve not even seen in person or tested???

You see, I’m committed to my black and white work, and if ever an opportunity comes along that enables me to tweak my black and white images that much more, I’m all over it.  First it was the Monochrom, then the Monochrom 246, and now the possibility of the SL for my black and white.  But could I strictly be swayed by Leica fans’ internet chatter, as well as glowing publicity from Leica itself?

No, I concluded.  I had to test this camera out for myself.  But how?

I did the only thing I could possibly think of doing – I contacted my good friend and Leica dealer extraordinaire Sam Shoshan of Classic Connection LLC.  I thought if anyone would be able to help me find a way to test an SL alongside my 246, it was Sam.  His reply to my innocent request?  “I’ll see what I can do.”  It then dawned on me that I was to be leaving for my annual New Mexico ‘wander’ in just two days, and would be away for two solid weeks.  “Think I’d be able to road test an SL against my 246 for two weeks in New Mexico?”  “No promises”, replied Sam at the other end of the telephone line.  Admittedly, it was a pretty tall order, but I held my breath in anticipation of the possibility.

Two days later I was on an airplane en route to Albuquerque, SL and 246 bodies in hand.  After having studied the 130-page instruction manual a number of times, I made note of a number of the features of the camera….

First off, the body itself is quite a lump of solid aluminum.  With a big chunky grip, it’s an easy rig to hold.  I’ve always been partial to heavy cameras, so this one fit me like a glove.  The camera also tempts with dual SD slots, a nice big screen on the back, a customizable menu, a low ISO setting (ISO 50), and a rather large electronic viewfinder.

By comparison, the Monochrom 246 is a study in seeming austerity.  An optical viewfinder, smaller body (at least when compared to the SL), its black and white-only limitation, and a more straightforward menu seem tailor-made

to my shooting style.  It’s difficult to believe that I’d consider relinquishing this great camera in favour of another, but I was certainly tempted!

Living with a new camera for two weeks versus a brief tryout in a camera store certainly enables one to explore the camera’s nuances.  There were definitely a number of aspects of the SL that I particularly liked, there were some that made life a bit difficult for me:

While I loved the size and clarity of the electronic viewfinder, it did cause me trouble while wearing my prescription polarized sunglasses.  The bright New Mexico sunlight can be often unforgiving on these eyes of mine, so I was compelled to wear my prescription polarized sunglasses much of the time.  Only problem is that the sunglasses didn’t play well with the SL’s EVF – put the camera up to my face, peer through the EVF and see…..nothing.  Total blackness.  Yet, when I would rotate the camera to take the very rare vertical photo, my view was restored.  So the solution to taking horizontal photos was to either wear my regular eyeglasses (which was a bit painful in the New Mexico sunlight), or to remove my sunglasses every time I wanted to take a photo, and adjust the large eyepiece diopter to suit my nearsighted eyes.  Not the most convenient way to take photos, at least in bright daylight.

The other thing that didn’t really work for me was the touchscreen – it did work, but I found that it wasn’t something that I personally warmed up to using.  This was likely a personal preference, as other users might enjoy this feature.

One benefit of using the SL was to actually able to focus through the lens (as opposed to the separate optical viewfinder of the 246), and this proved to be especially useful with the 0.95 Noctilux lens wide open.  I’ve always had difficulty getting a tack-sharp image with the Noctilux wide open on my Monochrom 246 – I’d have to focus on something in the middle of the frame (as that’s where the rangefinder patch is located), but if I wanted to reframe the image after focusing, oftentimes my original point of focus would fall out of focus.  It wasn’t so bad if I was shooting at f/2 or higher, but at 0.95, forget it.  The SL, on the other hand, had far more ‘hits’ than ‘misses’ with the Noctilux, and I looked forward to shooting with that lens on the SL.

You’d think that the ease of focusing with the SL would result in sharper images than the 246, but it wasn’t always the case.  I actually ended up with conflicting results on two specific occasions:  If you look at the first set of photos, taken at f/2 with my 35/1.7 Voigtlander Ultron, the full shots look to be more or less the same (the SL was set at ISO 400, the 246 at ISO 320).  However, upon closer inspection, the SL photo is clearly sharper than the

Monochrom’s.  Yet, in the second set of photos (taken with the Noctilux at f/4), I got the opposite results.  As a result, I’m not completely convinced that one camera delivers sharper images than the other.

Below is the photo from the Monochrom 246, taken with a 35/1.7 Voigtlander Ultron @ f/2, ISO 320

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Below is the photo from the SL, also with the 35/1.7 Voigltander Ultron @ f/2, ISO 400

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Closeup ‘crop’ from the Monochrom 246 photo above

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Closeup ‘crop’ from the SL photo above

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Clearly from these comparisons, the SL is sharper.

However, here is another test that gives the opposite results:

Sample photo from the Monochrom 246, taken with 50/0.95 Noctilux @ f/4, ISO 320

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Sample photo from the SL, also taken with the 50/0.95 Noctilux @ f/4, ISO 400

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Closeup ‘crop’ of the Monochrom 246 photo above

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Closeup ‘crop’ from the SL photo above

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Here the Monochrom is the winner.  So my tests are inconclusive.

Tonality-wise, I think both cameras produce roughly the same degree of detail in the shadows, midtones and highlights.  One of the complaints about the original Monochrom (CCD) was its tendency to ‘blow’ highlights unless you underexposed by 1/2 – 2/3 of an f-stop.  With the 246 and the SL, this doesn’t seem to be an issue.  Furthermore, upon close inspection of 11”x16” prints from both the SL and the 246, I really can’t detect much difference between the two.  So for me the final image results are a tossup.

Upon completing my two week New Mexico wander, I weighed the pros and cons of each Leica camera.  Both are super-duper, and I’d be more than happy with either one.  Yet, I found myself clinging a bit more closely to my Monochrom 246.  Its straightforward approach to picture-taking, as well as its size and handling, made for a better photographic companion for me.  Not to say that the SL is a more complicated affair, but ultimately I wasn’t willing to part with a great Leica product that I’ve had for less than a year in favour of another great Leica product, with seemingly little advantage.

I guess in the perfect world I’d have both, right?  No harm in dreaming.

Below is a selection of images from both the Monochrom 246 and the SL.  They aren’t ‘side-by-side’ comparisons, but just various photos that I took during this New Mexico ‘wander’: 

Taken with the SL and 50/2 Summicron @ f/3.5, ISO 50

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Taken with the SL and 50/0.95 @ f/1.2, ISO 400

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Ansel can have Hernandez, I’ll take Las Trampas.  Taken with the SL and 35/1.7 Voigtlander Ultron @ f/8, ISO 400

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Portrait with the Monochrom 246 and the 35/1.7 Voigtlander Ultron @ f/4, ISO 640

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A photo of yours truly.  Taken with the Monochrom 246 and 50/0.95 Noctilux @ f/1.2, ISO 320

Vinny NM2016

Monochrom 246 and 50/0.95 Noctilux @ f/2, ISO 320

Truchas1a

Casey, Postmaster in Tremontina, NM.  Monochrom 246 and 35/1.7 Ultron @ f/2.8, ISO 800

Casey from Trementina

In the Garden of Gethsemane, Monochrom 246 and 50/0.95 Noctilux @ f/4, ISO 320

Gethsemane

Somewhere on Hwy. 402.  Monochrom 246 and 50/2 Summicron @ f/11, ISO 320

 Union County3 

Somewhere on Hwy 402.  SL with 35/1.7 Voigtlander Ultron @ f/11, ISO 50

 Hwy 402-2e

Leaving Las Vegas.  SL and 50/0.95 Noctilux @ f/4, ISO 50

 Las Vegas1 

My good friend Shelly.  SL and 50/0.95 Noctilux @ f/1.2, ISO 400

 Shelly3

Nara Visa, NM.  Taken with the SL and 50/2 Summicron @ f/5.6, ISO 50

Nara Visa2 

Ross & Ira.  Taken with the SL and 50/2 Summicron @ f/11, ISO 200

 Ross and Ira

My friend Gloria, Monochrom 246 and 50/0.95 Noctilux @ f/2.8, ISO 800

 Gloria Valencia 

Tremontina, NM.  Monochrom 246 and 35/1.7 Voigltander Ultron @ f/8, ISO 320

Tremontina1

Leica New M Lenses from Leica Company (we are taking orders). Free shipping (USA)

Posted by: Classic Connection

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Leica Elmarit-M 28mm f/2.8 ASPH Lens Cat# 11677 New USA

NEW ITEM – COMING SOON / Expected availability: End of January 2016 / Free Expedited Shipping (USA)

The new classic prime lens for street photography.

A brilliant lens

The Elmarit-M 28 mm f/2.8 ASPH. is the most compact lens in the entire portfolio of Leica M-Lenses. This is made possible by the use of an aspherical lens element, which enables particularly compact lens construction and a weight of only 180 grams. This makes the Elmarit-M a firm favorite with street and reportage photographers. Every scene can be composed to perfection thanks to a rectangular, full-metal lens hood with a screw mount that can be replaced by a screw-in protector ring when not in use.

Technical details

This lens is optimized for digital photography and has significantly reduced image field curvature in comparison to the previous model. This results in considerably improved image performance with high resolution and extremely impressive reproduction of details. The Elmarit-M 28 mm f/2.8 ASPH.is practically distortion-free from infinity to its closest focusing distance of 0.7 meters, and provides an exceptionally clear view through the viewfinder of M cameras.

PRODUCT HIGHLIGHTS

  • Leica M Mount Lens
  • Aperture Range: f/2.8 to f/22
  • One Aspherical Element
  • Manual Focus Design and Focus Tab
  • 6-Bit Lens Coding
  • Minimum Focus Distance: 2.3′
  • Filter Thread: 39mm
  • Metal Lens Hood, Caps, Protection Ring 

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Leica Summicron-M 28mm f/2.0 ASPH Lens Cat # 11672 New USA

NEW ITEM – COMING SOON / Expected availability: End of January 2016 /  Free Expedited Shipping (USA)

COMPACT AND VERSATILE

The constant companion for reportage projects.

Exceptional – in every respect

This new wide-angle lens is fast, compact and delivers exceptional performance. Its outstanding speed makes it particularly versatile and delivers brilliant imaging results even in difficult lighting conditions. Its full-metal lens hood with a screw mount protects the optical system against undesirable stray light and flare. A screw-in protector ring is provided with the lens to protect the filter thread of the lens when the hood is not in use.

Technical details

At its maximum aperture, the Summicron-M 28 mm f/2 ASPH. already delivers impressively rich contrast, differentiated reproduction of even the finest structures, a soft and smooth bokeh and extremely high resolution. This is due to its recalculated optical design, which almost completely eliminates the astigmatic differences in the image field caused by the cover glass of the sensor to ensure excellent image quality from corner to corner in every picture.

PRODUCT HIGHLIGHTS

  • Leica M Mount Lens
  • Aperture Range: f/2 to f/16
  • One Aspherical Element
  • Manual Focus Design and Focus Tab
  • 6-Bit Lens Coding
  • Minimum Focus Distance: 2.3′
  • Filter Thread: 46mm
  • Metal Lens Hood, Caps, Protection Ring

 

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LEICA SUMMICRON-M 35mm f/2 ASPH. Cat # 11673 New USA

NEW ITEM – COMING SOON / Expected availability: End of January 2016 /  Free Expedited Shipping (USA)

A new classic prime lens for reportage photography.

THE COMPACT CLASSIC PRIME.

Perfect performance – in silver and black

This outstanding new classic prime lens offers exceptional image performance and unique bokeh. Despite its high speed and impressive imaging quality, its dimensions are astoundingly compact. Together with this lens, every Leica M becomes an extremely compact and elegant photographic tool. The Summicron-M features a rectangular, full-metal lens hood with a screw mount. A screw-in protector ring is provided to protect the filter thread of the lens when the hood is not in use.

Technical details

The eleven blades of the iris of the new Summicron-M 35 mm f/2 ASPH. create a circular aperture. This lends the out of focus areas of subjects a smooth and harmonious look. The newly designed and constructed lens delivers pin-sharp pictures with rich contrast and almost complete freedom from distortion – at all apertures and distances – and even when wide open.

PRODUCT HIGHLIGHTS

  • Leica M Mount Lens
  • Aperture Range: f/2 to f/16
  • One Aspherical Element
  • Manual Focus Design for Focus Tab
  • 6-Bit Lens Coding
  • Minimum Focus Distance: 2.3′
  • Filter Thread: 39mm
  • 11-Blade Diaphragm
  • Metal Lens Hood, Caps, Protection Ring

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Leica Summicron-M 35mm f/2 ASPH Lens (Silver) Cat # 11674 New USA  

NEW ITEM – COMING SOON / Expected availability: End of January 2016 /  Free Expedited Shipping (USA)

A new classic prime lens for reportage photography.

THE COMPACT CLASSIC PRIME.

Perfect performance – in silver and black

This outstanding new classic prime lens offers exceptional image performance and unique bokeh. Despite its high speed and impressive imaging quality, its dimensions are astoundingly compact. Together with this lens, every Leica M becomes an extremely compact and elegant photographic tool. The Summicron-M features a rectangular, full-metal lens hood with a screw mount. A screw-in protector ring is provided to protect the filter thread of the lens when the hood is not in use.

Technical details

The eleven blades of the iris of the new Summicron-M 35 mm f/2 ASPH. create a circular aperture. This lends the out of focus areas of subjects a smooth and harmonious look. The newly designed and constructed lens delivers pin-sharp pictures with rich contrast and almost complete freedom from distortion – at all apertures and distances – and even when wide open.

PRODUCT HIGHLIGHTS

  • Leica M Mount Lens
  • Aperture Range: f/2 to f/16
  • One Aspherical Element
  • Manual Focus Design for Focus Tab
  • 6-Bit Lens Coding
  • Minimum Focus Distance: 2.3′
  • Filter Thread: 39mm
  • 11-Blade Diaphragm
  • Metal Lens Hood, Caps, Protection Ring