I bid goodbye to my Leica Monochrom yesterday.
I wasn’t “bonding” with it, for several reasons, so it’s off to a new home.
Without a doubt, it’s a unique and formidable photographic tool, but it’s just not for me.
—Peter.
I bid goodbye to my Leica Monochrom yesterday.
I wasn’t “bonding” with it, for several reasons, so it’s off to a new home.
Without a doubt, it’s a unique and formidable photographic tool, but it’s just not for me.
—Peter.
Prosophos 
I’m very surprised. I thought it would be a match made in heaven. Just don’t get rid of the 90mm APO!
Gage
It’s gone too :).
Man oh man….lots of gear gone away…
Whaaaaat?!
This is shocking news! I thought you had cemented a relationship based on trust and mutual respect… Sorry to hear. And now for a used M8?
😉
M.
Hardly shocking my friend :). M8 cameras are wonderful, but I’m not going back.
With respect to gear, no current crop of cameras interest me right now.
So, I’ll be holding on to the M9 for a while.
Well, we knew it was a longshot for you (you do love your color…) but I thought it was working out. This is all just so sudden!
Does R ever get tired of you?
M.
Well this is very surprising news! Here we have Steve Huff relinquishing the new M to keep the MM and now Peter, whaaaaat?
I assume the 11 photos in 50 minutes turned out to be a deciding factor in your decision. Not only for the MM but the 90mm APO too!
Of course it’s none of our business and each of us can make our own decisions but I will be curious as to why the 90?
I think I know as it pertains to my own preferences but in my own case the 50mm stays on my camera most all the time.
When I post about gear changes, I sort of make it everybody’s business, so I’d be a fool not to expect some questions. Besides, people often ask me what I’m currently using.
You’re correct about the 90/2 APO, I sold it because I use the 50/1.4 ASPH much more.
I sometimes wonder why I have the 90 Elmarit. I did use it a bit over the weekend while with my son’s blacksmithing class. I posted some images on my blog. And I’m still trying to get comfortable with the 28 Elmarit. Fortunately the used Leica lens market is strong and not a problem moving a lens that’s not needed/wanted any longer.
A good decision I think Peter. Colour is such an important part of your signature AND you can produce wonderful b&w with your M9 anyway. As for the 90 not surprised…disappointed yes! But it will allow you to keep it simple and not think about gear too much!
The two points you mention above about the importance of colour in my work, and about the M9 B&W conversion capabilities, were main factors in my decision. I spent a very sad time in my life shooting mostly B&W and I don’t want to go back to that, except for key moments. Thanks Andrew.
wooo! how about your Noct95?
No Sam.
But I will get it back…
thanks!
I thought you think the Lux is no difference from the Noct.
50 f2 APO perhaps??!!
Which camera are you “bonding” with now?
The one I bonded with over 3 years ago – my M9.
Did you encounter the sensor crack issue with your M9?
I might be getting a mint M9
No, it’s been rock solid.
It’s really true? This is quite surprising… And the 28 Elmarit do you keep it?
No, it’s gone too.
Just one camera, one lens. Indeed it’s cool. 🙂
Well… its actually one camera, one focal length (see my comments to Sam above).
This is a wonderfull news Peter! Honestly I didn’t understand why the noctilux had gone — as far as I know this lens is hard to focus open wide, doesn’t get too close, but it matches perfectly on your hands, producing gorgeous images!
I live and learn…
Never easy when in the public eye. But you are doing it gracefully as always and it is good to see that you stay true to yourself, your style. Looking forward to your posts, as always. S
That’s very supportive Stefan, thank you. I don’t always know where my decisions will take me, but I’ve always enjoyed the ride.
Hi Peter
Funny, was going to comment on how I thought yr processing of yr b&w pica from yr MM where looking better & better, nice depth and character. O well, keep up the good work with the M9!
Best JH
I never was completely satisfied with the processing. The latitude was there but I felt I needed to work too hard to get white whites and black blacks. If I tried to save time and processed more aggressively, the highlights would blow. I guess it was because I was using modern lenses with high contrast – it’s in this context that Ashwin’s approach of using older lenses really makes sense.
Hi Peter,
Thanks for sharing your thoughts regarding the Monochrom. It helped in reinforcing my own conviction to stay with one camera and two lenses: the M9 and the 50 Lux 1.4 and 35 Lux 1.4, version II. All I need can be accomplished with this gear. For most of us, the M9 still presents great challenges and opportunities for wonderful images in both black & white and color–there is not a need to chase the greatest and latest. My lenses more than adequately cover my range of interests. Steve Huff, who is selling his M240, says he can’t justify owning an M240 and Monochrom, which I dare say is the case for most of us. Quite frankly most of us can’t justify owning an M9 and Monochrom. Of course this kind of decision is personal and depends on financial resources. I’ll always be interested in new cameras and technology and always be tempted to buy the greatest and latest; however, when I remind myself why I bought my current gear, it usually gives me a different perspective on matters, and I am happy to stay with what I have. And it also helps to read how other photographers think, like yourself. However, sometimes I wonder about those who seem not to be satisfied unless they always have the newest camera or newest lens. My best.
George
Very well written George, thanks for your thoughts.
Hi Peter: Just my opinion; I think if one is shooting to satisfy a client, then the monochrome would be too limiting. To me, b/w is fantastic, but it also requires a level of visual sophistication most client’s just don’t get. Creatives can design beautiful b/w projects but even they have difficulty selling b/w conceptually to many of their corporate clients.
If a paying gig and I’m working alone (without a creative team), I always shoot assignments in color, some with b/w intent, and deliver in b/w for the selected assignments. If the client calls me out on it, I can always say color conversions are available. If I shot only in monochrome, I’d risk loosing the client and the income.
Hi Chris,
I agree with all you’ve written above (thank you for sharing your “real world” experience) and would add that many people don’t see the CCD vs. CMOS differences I opine about either, or the difference Leica lenses make. In short, most people “in the real world” don’t see any of the subtleties most of us photo enthusiasts obsess about.
Needless to say, if one relies on photography for income and isn’t in it for personal pleasure as well, it would make sense to purchase a Canikon system and call it a day.
Thanks for your helpful post.
Peter.
This will be my last reply; I’m straying OT. As my M9 & lens’ system grows, I find myself using the Leica for about 60% of my shooting. To utilize the Leica more, I really need 2 bodies, and I have an M on order. The optical superiority of the Leica glass (over my DSLR), is a given, and the Leica files do have a different look compared to my Canon files. It’ll be an interesting challenge when I use both the M9 & M on the same assignment; trying to make the files have a similar “look” at base ISO, and at 800+. Will I be able to accomplish that using Lightroom settings? We’ll see, and maybe I don’t want/need to. I’ve not tried to do that when mixing Canon & M9 files on the same job, and my clients have not noticed, or if they have they’ve not said anything. I do notice a difference in the look irrespective of the lens’ used, and sharpness/lack of distortion, especially using wides.
Surprised! I think for you color is your dominant signature so all is good. For B&W, the MM produces files that are unequaled though. There is a different PP flow though and perhaps it just complicates things.
Thanks MJ1.
I will simply echo the appeal of your photography has always been your color work done with minimal but quality gear. Although it was interesting to observe your temporary three focal lengths/two bodies phase. Very much enjoy your contribution to the Leica photo world!
Thank you kindly Bob. I try to experiment when I can, but I keep coming back to 50mm lenses and – for the last 3 years – to the M9.
Peter.
I totally agree with the M9 and the 50mm Summilux as being a near perfect combination. Its like they were meant for each other. Well the 35mm Summilux FLE too :). I bought my M9-P last summer and I have bonded with it like no other camera equipment I have ever owned. I also owned the 90mm Summicron APO too however, I returned it and bought the 21mm 3.4 Super-Elmar instead; its almost as if the M9 wasn’t designed to be used with 90mm lenses and above.
I’ve owned a few 90mm and had difficulty getting accurate focus with all of them. Now, I stick to 50mm and below
Hi Frank and MJ1!
Yes, the 90 focal length can be tricky on a rangefinder.
I didn’t so much find it difficult to focus the 90 as I found the field of view less flexible than my 50. I already knew this going into the experience, but I wanted to try my hand at the APO because it was a lens I hadn’t previously used.
Thanks for both of your comments.
Peter.
I have been following your blog for a long time, Peter and colors are your trademark. I really like your photos, the look, the feel and unique atmosphere, not to mention your kind words full of wisdom. Most of these images were taken with the M9 and 50mm Summilux. That’s why I’m not surprised for your personal decision getting some equipment off. Less equipment the better. It can be liberating at the end of the day and lead you to capture life’s little moments.
Michael
Thank you Michael. It seems you possess a great deal of wisdom yourself…
Kind regards,
Peter.
OH that’s a bummer, Peter. One thing to consider is using older lenses on the MM. I didn’t really feel that great using modern glass on the M, as it was almost too critical. I have now gone to a kit that’s primarily a version 1 summicron 35, a rigid summicron, and a vintage 90. These provide the look that I have craved…but I understand well that the MM isn’t for everyone, and color is a huge part of your imagery, so I understand that you might feel it lacking. I only feel bad that 2 cameras that I adore, the MM and 645D, didn’t agree with you…but that’s what makes us all unique and different. All the best. Keep up the magic with the M9….
Hey Ashwin, don’t feel bad… I’m a big boy and knew what I was getting into. The thing is, I love what you and some others have done with the Monochrom. I understand vintage lenses are part of the equation, but I wasn’t prepared to build up a second line of lenses just for the Monochrom. Ultimately, the flexibility of the M9 (and its capability to shoot in colour of course) won out. As you say, we are all unique, and that’s okay…
Peter.
i had the MM as a loaner while i got my lenses coded and adjusted to my M9. to be honest i was really happy when i got my m9 back. the limitation of only having to shoot in b&w kind of set back my joy of taking pictures. it is a nice camera for sure, it just did not work for me. and i am quite happy with the result of converting my M9 images to b&w.