LHSA (International Leica Society)'s Google+ Page Gets A New Collage

 

LHSA's Google+ Collage, by Reed A. George

 

As you may know, I'm an enthusiastic member of the International Leica Society. I recently established a Google+ community for LHSA, and it's a pretty lively place to catch up on what members are up to each day.

 

As a weekend project, I decided to make a new collage for the page's header. Clockwise from top left, the images are: Leica special edition null series replica, the Society's journal "Viewfinder," Vario-Summilux on the Panasonic Lumix DMC-LX7 (same lens as Leica DLux6), checking out LiveView on the M240 in the Miami Leica store, a black paint Leica M6 LHSA special edition camera, Leica Ablon film trimming guide, and of course the LHSA logo in the center.

 

If you like Leica, you should really consider joining LHSA. We have the Viewfinder, national meetings, local meetups currently starting up (second Washington, DC area meeting on September 21), not to mention other new member benefits, including a 5% discount on t-shirts from Dodge & Burn.

 

(Click Here) to check out and join LHSA.

 

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LHSA (International Leica Society)'s Journal "Viewfinder" Edition 46-3 is Here!

 

Barcelona, by Reed A. George

Leica CL, Minolta Rokkor 40mm f2 Lens

 

If you're a fan of Leica, you'll want to know about the LHSA (International Leica Society). One of the biggest benefits of membership is the quarterly journal, "Viewfinder." The latest edition is now out, and I'm pleased to say that I have an article in it. A series of images I took last fall in Barcelona with my Leica CL and 40mm Rokkor made the pages!

 

Other topics in this issue include: Lith Redeveloping by Gary Hough, Ed Schwartzreich's final article in a series of three about how Leitz produced the landmark M3 camera, and a story about the LHSA's spring shoot in Ft. Lauderdale, Florida, by Bill and Mary Caldwell.

 

This is just a sampling; there's plenty more.

 

So, come join us at LHSA, and get access to every issue of Viewfinder produced since the 1960s! I'm thrilled to have some images and writing published in this great journal for Leica enthusiasts.

 

(Click Here) to join the LHSA.

 

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I'm Hosting the First International Leica Society (LHSA) Regional Meetup in DC This Saturday!

 

Daguere Statue, by Reed A. George

Leica M8, iso 320, f9.5, 1/180 sec

 

This coming Saturday, June 22, 2013 at 1:00PM, I'll be hosting the first regional meetup of the International Leica Society (LHSA) in the atrium at the National Portrait Gallery in Washington, DC.

 

If you're not familiar with LHSA, (Click Here) to check it out. Originally known as the Leica Historical Society of America, the LHSA has broadened and updated its scope, renaming itself to the International Leica Society. It is a great society to be a part of, offering an excellent journal, "The Viewfinder," national meetings, a raffle (ongoing at the moment, where members can win a new Leica M or APO Summicron lens, a Leica X2, or a Leica Dlux-6), a lively community on Google+, and now, regional meetups.

 

We will plan to meet at 1:00PM, get to know each other a little, maybe see an exhibit at the gallery. Then we'll head out and do some shooting around DC, ending up with a visit to the Leica Store DC.

 

Right now it looks like 6-8 of us will be there. So, get your membership up to date, grab your gear, and come on over!

 

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April's Whole Lotta Leica Lens - the Summicron 5cm f2 Collapsible LTM "Radioactive" Lens

 

Leica Summicron 5cm f2 Collapsible Lens

 

This month, I am choosing the Summicron 5cm f2 collapsible lens as my Whole Lotta Leica selection. I will pair it up with my Leica M9 for the month and share the results with you here.

 

The Summicron 50mm has been a benchmark lens for Leica (and for comparisons from other manufacturers) since it was first introduced around 1955. The first version (shown here) was a collapsible lens. Originally made in Leica Thread Mount (LTM), the collapsible was also made in Leica M mount. Mine is an LTM lens.

 

The collapsible Summicron was an evolutionary step up from the previous Summitar 5cm f2 collapsible, which remains a favorite of vintage Leica shooters.

 

Mine happens to be an early unit (serial no. 994,XXX), which is classifed as having radioactive glass. There is some disagreement about the meaning of this, but here's a quote from Brian Sweeney, a lens expert with a lot of credibilty:

 

 

"Brian Sweeney

04-27-2010, 03:48

The original Summicrons use Thorium Glass and they are radioactive. I own two of them. Summicrons with SN after 105xxxx do not use radioactive glass.

 

The original prototype Summicrons were marked as Summitars, and had the asterisk (or star) next to the name. I have only seen photographs.

 

http://www.imx.nl/photo/leica/lenses/lenses/page92.html

 

The Summar is a double-gauss, 6 elements in four groups, 1-2-2-1 configuration. The Summitar and earlier Summicrons are evolutions of it, 7 elements in 5 groups. The type 2 Rigid Summicron (black, the 70s version) was 6 elements in 5 groups. The modern Summicron went back to the 1-2-2-1 configuration."

 

 

If you're interested, you can (click here) to read more about thorium glass, contaminated lanthanum glass, and whether or not the radioactive glass will fog film (it won't at normal distances).

 

The glass in these lenses is normally yellowed. Some people think it makes these lenses better for black and white shooting. I know it's common to use a yellow filter to increase contrast in blue skies. Or maybe the yellow is worse for color photography?

 

In any case, mine is in gorgeous condition. It is rare to find one without cleaning marks. I got lucky.

 

(Click Here) to read a nice summary of the different versions of the Leica Summicron 50mm lenses on antiquecameras.net

 

The International Leica Society (aka LHSA) is having their Spring Shoot in Ft. Lauderdale, Florida on April 17-20. I'll be taking the Summicron collapsible along for the trip.

 

By the way, if you aren't a member of LHSA, I highly recommend it. It's a great group. Even though it formerly had "historical" in its name, the LHSA comprises a wide variety of members with experience ranging from the earliest vintage models through the latest digital Leicas. This is not a group stuck in time. In fact, at my first LHSA event, I took a great workshop on high dynamic range (HDR) imaging. That's not an old technology.

 

In addition to their Spring Shoot and annual meeting, the LHSA holds an annual raffle where they give away extremely expensive and wonderful cameras, and they publish a great journal, known as the Viewfinder. They also offer an electronic membership, where the Viewfinder is delivered as a pdf. Wonderful. No clogging up the mailbox with a paper magazine.

 

So, check out the LHSA:

 

(Click Here) and join!

 

DMC-365.blogspot.com

 

 

Colin Steel Writes About the "Year Old" Fujifilm Model X10 on Steve Huff Photo

Image Source: http://www.stevehuffphoto.com/2013/03/07/forgotten-friends-the-year-old-camera-fuji-x10-by-colin-steel/

 

Colin Steel has written an informative post on Steve Huff's blog, about the virtues of taking advantage of extremely low prices on last year's camera models, in his case the Fujifilm X10.

 

(Click Here) to read Colin's post on stevehuffphoto.com

 

Colin picked his X10 up for the equivalent of $350 US. This reminds me of my own recent purchase of the Lumix DMC-LX7 for less than $300. There are some amazing deals out there. Amazon is a great place to find them (hint hint - use my link below).

 

Colin finds the power-on switch in the X10, which is linked to twisting the lens zoom ring, very fast and elegant. He has perfected his technique to end the power-on motion at 35mm focal equivalent for fast shooting.

 

All of these small sensor cameras suffer from the inability to get extremely shallow depth of field. Colin is not concerned with this, as he likes lots of depth of field. In fact, Colin mentions a discussion with Magnum photographer Nikos Economopoulos, who uses f11 or at most f8 for much of his shooting with the Leica M9, so that he can be free to arrange the compositional features within the frame, rather than relying on (or dealing with) out of focus features.

 

Colin finds the dynamic range on the X10 to be pretty good.

 

While the X10 has an optical viewfinder (rare on small cameras, and very important in my estimation), Colin finds that he composes most of his images on the LCD. This would not work for me. Colin says that he adapts to each camera, and composes more through the viewfinder on the Fuji X100 for example. The X100 has a much better finder than the X10.

 

I find it very interesting to read Colin's impressions of the X10. I certainly agree with him that there are some amazingly good cameras that happen to be last year's models for prices that are difficult to pass up.

 

Here's a shot I made with the Lumix DMC-LX7 last week.

Agitated Airline Customers, by Reed A. George

Panasonic Lumix DMC-LX7, out of camera jpeg

 

DMC-365.blogspot.com

 

Please use this link to find your own deal on last year's camera model!

 

 

Rudy van Os Covers a Japanese Performing Arts Festival With the Fuji X100, Exclusively

Image Source: http://tokyoshots.com/2013/01/24/summer-memories-part-3-nuit-blanche-a-kyoto-art-night-festival/

 

Can anyone tell that I'm getting GAS (Gear Acquisition Syndrome) symptoms for a Fujifilm X100 or X100S? The more I read about this camera, the more I like it. I like the idea of the Leica X2, but the images I've seen from the X100 (which should only improve with the new sensor in the X100S) are very convincing.

 

Today I read about how Rudy van Os (tokyoshots.com) used the X100 exclusively for a night time event shoot last summer. He left his Canon DSLR behind, because he needed to bicycle between five locations in the Japanese city of Kyoto, and didn't want to carry much. His photos did not suffer.

 

(Click Here) to read Rudy's report about the evening.

 

I like the look of these shots, even those taken in near darkness.

 

The only thing that's slowing me down with the X100 (other than the fact that the X100S isn't available yet) is that I'd actually prefer a zoom lens on my compact camera. The Fujifilm X10 (and new X20) have zooms, but their sensors are much smaller.

 

Oh yeah, then there's the cost - at ~$1,000 for the X100, $1,300 for the X100S, that's no small consideration.

 

Oh well, I'm in no hurry. The Panasonic Lumix DMC-LX5 is still a very solid choice for a compact backup to the Leica M9. It just doesn't do so well in the low light / digital noise department - it's really no slouch, even there. See the image below. Note, however, that this was shot at iso 80 for 30 seconds on a tripod. Boosting iso to shoot handheld would have ruined the shot.

 

I'd sure like to have a larger senosr and an optical finder like that on the Fuji X100. Maybe a fast zoom on a larger sensor like the X100 just becomes too big? I would certainly want it to be fast, like the f2-3.3 on the LX5.

 

Calvert Marine Museum at Night, by Reed A. George

Panasonic DMC-LX5, iso 80, f4, 30 sec.

 

Well, good things come to those who wait, correct?

 

DMC-365.blogspot.com

 

 

Sony RX1 Sample Pics

 

Sony RX1

Image Source: http://www.pocket-lint.com/news/48624/sony-cyber-shot-rx1-full-frame-compact-camera-first-sample-pictures

 
The new Sony RX1 is really interesting. A full-frame, 24MP Sony sensor, permanently matched to a non-interchangeable Carl Zeiss Sonnar 35mm f2 lens. Nearly $3,000 price tag. Wow.
 
Pocket Lint has posted a brief introduction, and more importantly, some sample images from this camera, including using it at iso 25,600. Not bad. Not bad at all.
 
(Click Here) to see the post on Pocket Lint.
 
What are my thoughts on this camera? Well, first off, you have to shoot it at arm's length, if you use the LCD to compose. On the positive side, since it's a fixed-lens, fixed focal length, you can use an optical finder mounted in the flash shoe. I don't know how easy it is to set hyperfocal distance on the RX1, but that could be a good solution for street photography. Otherwise, there's an accessory electronic finder. In either case, it really takes away from the nice size and shape of the camera.
 
If I were looking for a smaller back-up to my Leica M9, the RX1 would be interesting. The Leica X2 is as well. The X2 has an APS-C sized sensor, smaller than the full-frame sensor in the RX1. I'm sure the Leica can't do nearly as well at high iso.
 
Right now, my answer to this is the nice little Panasonic Lumix DMC-LX5. Not in the same league of image quality, for sure. The LX5 is okay at iso 400, can be used up to 800 or maybe 1600, if you're not going to get hung up on noise. But, that's really pushing it. Otherwise, it's an amazingly well-equipped little camera, and with zoom and focus memory, hyperfocal settings, and silent shutter, it's an awesome street shooter.
 
I think I'll always need an eye-level finder, as opposed to composing on the LCD. I highly prefer an optical finder to electronic view finder (EVF), yet have used the EVF on my Micro 4/3 cameras extensively. With an optical finder, autofocus is a real problem; you don't know what you're focusing on. With either an optical or EVF, these compact cameras become signficantly less compact and streamlined.
 
So, for me, the perfect compact companion to the M9 does not yet exist. The RX1 is close. I probably shouldn't try one. If I found that manual and hyperfocus settings were easy, I may fall in love.
 
In any case, I'm happy to see new cameras that put supreme image quality at the top of their features. Nice job, Sony (and Zeiss).
 
 

Kirk Tuck (of Visual Science Lab) Talks Up The Electronic Viewfinder (EVF)

Image Source:

http://theonlinephotographer.typepad.com/the_online_photographer/2012/05/kirks-take-electronic-viewfinders.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29

Kirk Tuck has written a piece on The Online Photographer, with some witty-but-practical thoughts about how electronic viewfinders (EVFs) compare and contrast to optical viewfinders (OVFs).

(Click Here) to read Kirk's post on The Online Photographer.

Kirk talks up the following features of EVFs:

1. "Pre-chimping" (this term belongs to Kirk :) ). This means being able to see how the camera's settings and electronics will treat an image BEFORE you shoot it. Not possible with an OVF, it can be achieved with live view on an SLR, but not with the camera to your eye.
2. Focus Peaking - I am not familiar with what Kirk describes, about the camera highlighting items that are in focus in your image. I'm thinking Lumix cameras don't do this? Please comment if you can shed any light on this subject.
3. The ability to quickly check an exposure in the EVF after it's taken, without having to take the camera away from your eye.

I certainly appreciate number 3, even though it makes people think I'm crazy when I've got the camera to my eye reviewing an image, not necessarily pointing it at my subject any more. My wife has said - "Why are you taking pictures of the sidewalk?"

On the downside, Kirk talks about the delay of the EVF making it more difficult to "lead" a moving subject (or at least different from the OVF), having to turn "Gain Up" (something I think is the default setting in Panasonic cameras) to see your subject in a dark setting, such as when you're planning to use studio flash, and the fact that EVFs typically represent an image in higher contrast than the true image, making the quick-check less effective.

On that final point, Kirk suggests that raw shooters can set their jpeg settings to low contrast, so that the image in the EVF more closely approximates what will be in the raw file. Nice tip.

I agree with Kirk on many points here. I love the "gain up" behavior of the Lumix EVF, which allows me to see what's going on in a dark scene by increasing the gain in the EVF (bringing up the light levels). I would add that this also allows visualization of the depth of field, if you're using a lens that closes the aperture down before the shutter is released. This is the case with legacy lenses on adapters. This is a feature that makes EVFs a major advantage. Basically, even though the aperture is closed way down (reducing the light getting to the sensor), the EVF adjusts the gain to brighten the image going to your eye. So, you get enough light to see what's going on, and the lens is closed down, so you can see the true depth of field.

Contrast this to the old depth of field preview in an SLR (which makes the image in the OVF so dark you can't see anything), or the conventional rangefinder camera (which has no provision for depth of field preview).

That said, I still really love to look through an OVF. It just looks more "real." It makes me feel like I'm still there, present in the scene. The EVF doesn't do that.

I know that even though this is a Lumix blog, I've been referring to Fujifilm quite a lot. I bring it up here because I wonder just how well their hybrid viewfinder (which allows you to switch between EVF and OVF) gives the benefits and minimizes the disadvantages of both finders. I imagine the hybrid design is pretty well-covered by Fujifuilm with patent protection, but I'd sure like to see it appear on other cameras (especially Panasonic).

Thanks again, Kirk, for a thought-provoking piece!

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