I have always shared my gear choices/changes freely, assuming it may help some of you considering camera A vs. camera B, or lens A vs lens B, etc. So, along that vein, and at the risk of inviting harsh commentary, I will disclose this:
I have parted, again, with the Leica M240.
Before the M240 was released, I made some predictions about its image quality. Specifically, I was concerned about base ISO performance vs. its predecessor, the M9. My concerns were borne out when I viewed the initial JPG images, and then again when I examined sample RAW files.
I posted both my predictions and subsequent analysis on this site.
Of course, some photographers shared my view, and some didn’t. Those who didn’t were critical of the fact that I hadn’t owned the camera and yet I was judging it. My rebuttal was that you don’t have to own a camera to judge its image quality.
Well, now I’ve owned it. Twice.
My honest opinion: I should have listened to myself.
I tried —I really tried — to make it work (those of you who follow this blog on a regular basis know this), because I really enjoyed the ergonomic improvements.
But I just couldn’t coax the look I wanted out of it.
—Peter.
Prosophos 
If you are considering another M9, I have one in perfect condition I am considering parting with. I would tell you to give the Sony A7R with the Sony/Zeiss 55 mm f 1.8 FE lens a try. I was shooting the A7R and M9 side by side yesterday and was very impressed with the A7R’s rendering. I have a Summilux 35 mm, Summilux 50 mm, and a Summicron 90 mm and they all work fine on the A7R. I tried a Summilux 24 mm in NYC at a well known camera store and the images appeared to have less vignetting and distortion than my 35 mm lens. The Leica 21 mm Super Elmar was unacceptable without significant post process correction of vignetting. I was not impressed with the 24-70 Sony/Zeiss f 4 FE lens.
I admire your effort and honesty. At the end of the day you are the creator, you know what you want to achieve and if the tool does not help you to do so, you have to move on. I look forward to see what will be your next step.
Thank you Kostas.
In the end, was it the 240’s color profile that frustrated you most?
Yes, definitely.
Not surprised….at all. You have confirmed to me that my observations on this sensor have been correct. That is a personal opinion of course! If I was a guessing man as to what next….Mmmm…a break for a while…maybe the A7s. But ergonomics might be annoying aspect….M9 wouldn’t surprise at all of course….beyond that..,.,not sure. Quattro when it comes out?
PS Not that it matters what your next camera is btw…..you’ll keep creating great images.
Thank you Andrew. There will indeed be a “next” digital camera. I can’t go more than a few days without one.
MMM…I’m leaning towards the A7s! Sony sensor yes some may say, though with a lower resolution I think it will render it’s colours differently than the 30+MP resolution monsters of the A7r and D800e. It has also has an electronic shutter so it’ll be ALOT quieter than the A7r! Two features where curiosity might just nab the cat 🙂 Ergonomics wise though could be the killer.
Don’t think it’ll be the XT1. Nice camera in hand, good EVF, renders colours nicely BUT…not full frame.
I’m convinced these high MP’s sensors just struggle to render micro-contrast effectively. I can only go from what I see and I’m certainly unqualified to say this :-). Hence I think the A7s may be a little different and the D4/4s/Df sensor is still (apart from M9 CCD) the best sensor out there on the digital camera scene.
Fuji (along with Sony) have been rumoured to bring out a medium format fixed focal lens cameras ala Mamiya 7 later this year. According to “Sony Rumours” the fuji will have a Sony sensor like the Hasselblads and the new Pentax 645. These will be interesting but the lenses will have to be up to speed for that many MP’s and no doubt they’ll cost a bit and assume in the Pentax price category.
PS…This is not for me…I’m trying to guess your next direction Peter 😉
Yes, I understand… and you never miss a beat!
As for conjecturing, I was on the Sony chip bandwagon but, the more I’ve experimented with them, the more I’m disliking their colour signature (sound familiar?).
Oh yes and, in case you’re wondering, camera is already in hand.
Surprised……NO 😉
Peter, I know you liked your M8, and it is not a full frame camera. So give one of the Fuji products a try..shoot it YOUR way, with your style. I think you will be VERY surprised at the results you get. The 56mm f1.2 renders magically, as does the 35mm 1.4. If you do not like it you can try something else. With your talent, and with the light you like to shoot in, its a no brainer.
Thanks Cory, but I don’t think I would choose a smaller than “full frame” sensor camera. Especially now that I’m shooting medium format film, 35mm seems to be my “floor” for sensor size. It’s not an elitist view, it’s just that bigger sensor = better image quality (all other things being equal), especially for portraiture, which is my main focus (so-to-speak).
Now, of course I realize one can create photographic art with a Fuji, so I may just give one a chance one day.
if your are used to the M9, the A7 does not even come close. but thats just my opinion :).
My experience with the RX1R made my shy away from Sony for a while… it felt more like a computer that a proper camera. Also, I’m starting to question Sony’s colour signature too… The D800E sensor (made by Sony) opened my eyes to this issue.
Just going to keep my M8 and use it with my M6 for special moments. I bought a DLux 6 for everything use (has a wonderful Summilux lens) The reason is glaringly obvious now nobody is going to produce a new CCD sensor camera any more it’s gone. Peter buy a M9p or ME and use it when the light is good and just concentrate on film I think the M9 in 2020 is still going to be the camera of the year.
If things don’t change in the next year Pi, that’ll most likely be my next digital camera…the M9…On another note I certainly don’t hope Leica bring out a CMOS based MM. As much as there are nice images from the 240 in B&W (there is from every camera really) I’m not a big fan compared to what I’ve seen from the MM in terms of sensor. From what I can gather we’ll probably see this happen soon enough!
I think the next MM will be CMOS based, even the high end digital backs for medium format cameras are becoming CMOS based.
You’re probably right – unfortunately.
I have a M 240 and a M9 – I shoot mainly with the M9 for 2 reasons – the image quality and the simplicity of the camera itself. I find the M240 to be bloated both in size and in menu design. The M9 experience is much more “focused” and enjoyable.
Hello Peter! Great journey of the M240 & thanks for sharing. Your experience does help me to sort out my thoughts on CCD Vs CMOS in Leica. There is no right or wrong answer or even consensus. Each has its pros & cons. I was one very close to obtaining the M240 especially seeing you excel in its post-processing; because I am tempted with its higher ISO ability & the improved ergonomics. However, every time I tried to make that decision, I always hold back after reviewing extensive images on-line again. In the end, I finally accept that every system has its limitation & such is life. I will cherish & be true to the M9 (now M9-P) experience & this is why I fall in love with Leica photography in the first place. The funny part to me is that the best thing in life is usually something that I have already got but my eyes are overlooking….Oh well, that may bring me to perhaps another chapter in film soon which I have never experience. Haha!
Wow! Such a lot of anguish and through the hoops on this question. Where to next? A bit more film work for a while? FWIW, for all the toys you have tried, all the pictures you have posted have looked like you took them.
Thank you Linden, I really appreciate that.
When the Monochrom came out I read a review that stated it was the first digital camera that could match film. And this has got me thinking, Digital SLR’s with CMOS are amazing at capturing action and sports photography where the frozen action counts. A film, Rangefinder or CCD camera is not so well suited, high ISO, fast focus, burst rates hundreds of shots with no additional cost. However most of the time I don’t take sport shots, Travel, Walk about, Landscape, Family, 36 shots would be all I need most months. My camera is a M8.2. Its quite slow to use, manual WB, manual focus. So I question why don’t I use a M7, M6 or M3. Film Processing, Noritsu scan to CD, 36 prints by a specialist photo lab 15 pounds.
I often wonder similar things, but in the end digital is for me.. I’ve tried to start shooting film several times but it always comes down to: lazyness, not seeing my photos instantly, self doubt whether I got the shot or not, the trouble of getting film processed.. So I always end up taking exit plan back to digital.
As for Peter & M240 saga I can understand his frustration about it. When something doesn’t fit like a glove, it has to go. Same was for me & A7r – I swapped it for M240 actually and quite like it. But looking at it from another angle, Peter: you put a tremendeous ammount of pressure on yourself with this. Maybe you need to cut yourself a little more slack? The photos you share, regardless of the camera, are always first class! So it’s definitely not the camera, but the man behind it.
I know artists often look for perfection in their craft, but I think this time achieving the m9-kind-of-look might not be the right path. it’s quite possible that can never be achieved with anything else. It’s a pity you ended up selling the M240 again.. Maybe with more time you could have got the results you wanted, especially so since new firmware should be available in couple of days.
Then again, maybe you just need a Leica mp kind of camera to fullfill your Leica fix and do something different with digital?
//Juha
Thank you Juha.
It’s not that I wanted the M240 output to look like the M9 (it doesn’t and it never will), I just wanted it to look acceptable to me.
As for my Leica “fix”, people often forget that I still use an M3 🙂
Good question Adam… why don’t you use a film body? 😉 You can at least complement your M8.2 and achieve a different look/vibe to your images that’s very difficult to replicate with digital and often can’t be replicated.
Only question I have for you peter. How on earth can you buy and sell and buy and sell. The Market at your place must be amazing to be able to sell it so fast :).
What can I say my friend. I came to peace with myself with all this Gadget acquisition syndrome. And I hope you find that peace. You need to believe that you are fantastic photographer and your photos talks and emit a special emotions, it doesn’t matter what camera, colour or look you get. To me they all look the same and it says peter all over them. My advice don’t take it so seriously and enjoy 🙂
Salim, my friend, I buy and sell, and I buy and sell… it’s true. I’m always fine-tuning, I’m always experimenting.
However, I know many people (including many who read this blog) who buy and buy… and buy. Their camera and lens arsenals are impressive but often sit on a shelf.
Which approach is correct? Well, that’s obviously a personal decision.
Thanks for the encouraging words.
I really wonder if you have looked at the 5D Mark III. The color signature to me is much more pleasing than the Sony sensors, and the quiet shutter mode is quite excellent.
Believe it or not, I have considered one, indeed because of the colour signature (which I agree is better than the Sony sensors) and that quiet mode shutter sound (which is fantastic).
Peter, no surprise here (even though I disagree with you 😉 ). I know you tried the D800 plus the Otus, but you might want to try renting a D800E plus the Sigma 50mm F1.4 Art. Not the best bokeh at distances greater than about 3meters from the subject, but the sharpness and microcontrast is (very) impressive.
Best
Simon
Thanks Simon,
It was the D800E I had owned, not the D800.
Either way, the Sony (maker of the chip found in the D800 and D800E) colour signature is not nice… although not as bad as the M240.
—Peter.
One thing I would observe is that there’s a very different colour signature between the Nikons with a Sony sensor (D600, D800/E) and the Sony RX/A7 cameras. The Sony cameras have nicer skintones but slightly worse DR than the Nikons (and it’s harder to get foliage right with the Sonys too, whereas its easy with the Nikon cameras). Don’t get me wrong, the A7 cameras have their problems (vibration at low shutter speed, ergonomics), but colour isn’t really one of them. Interestingly the Nikons based around the 16mp 35mm sensor have much nicer skintones out of the box (but of course worse DR and lower MP). There’s always a tradeoff…
Best
Simon
Indeed, there’s always a trade-off. And — yes — to clarify, I was referring to the colour signature with respect to skin tones.
By the way, my recent posts about film, and those posts voicing my distaste for Bayer sensors, etc. translate into: I am not satisfied with any digital offering as of now (end of May 2014), since no current digital product combines a non-Bayer filter with at least a “full frame”-sized sensor packaged in an ergonomically optimized body.
Am I being picky? Of course! But, since I can still shoot and process film, I can afford to be picky.
So, I’ll be shooting with film for the important stuff, and choosing digital for experimentation/convenience.
As I hinted this week, I’ve already selected the camera (and lens) I’ll be using for my digital needs.
—Peter.
I guess its the Nikon Df. Peter I agree, I have the M9-P and really love the look of the color. The M8.2 is lovely also, which works great for B&W. I recently purchased a MP, black paint version and it is absolutely beautiful. Not sure what kind of film I want to shoot with it.
As you know the M3 is also lovely and I just love holding it and feeling the shutter release. Now back to image making and I look forward to your blog everyday.