Category Archives: Leica M2

15 Years, Part 2.

Leica M2-R, Voigtländer 40mm Nokton f/1.4, Kodak Tri-X 400, and Plustek 8200i.

15 Years.

Leica M2-R, Voigtländer 40mm Nokton f/1.4, Kodak Tri-X 400, and Plustek 8200i.

The Big Lie (Down).

My patient test model, helping me out with the first roll of film.

Exposure was correct this time.

—Peter.

Leica M2-R, Voigtländer 40mm Nokton f/1.4, Kodak Tri-X 400, and Plustek 8200i.

The Conversation.

This is from Test Roll #1 (evaluating my M2-R and Voigtländer 40/1.4).

I thought I was shooting @ f/1.4, but realized too late I was @ f/2.8… hence the underexposure.

Still, I like the moment that was caught; in fact I like it more than anything else I’ve done lately.

—Peter.

Leica M2-R, Voigtländer 40mm Nokton f/1.4, Kodak Tri-X 400, and Plustek 8200i.

Full Circle.

The lens arrived, so now I just need to convince myself to go out and take some photos.

—Peter.

Born in 1970 (Part 4).

Leica M2-R.

—Peter.

Born in 1970 (Part 3).

Leica M2-R.

—Peter.

Born in 1970 (Part 2).

Leica M2-R.

—Peter.

Born in 1970.

Leica M2-R.

—Peter.

Leica M2-R (Test Images).

Yesterday, I posted some images of the Leica M2-R I was fortunate to acquire.  The photos were taken with a Leica M10 and processed in Lightroom with relative ease.

In contrast, today I set upon the boring and arduous task of testing the M2-R without — of course — the immediate feedback of digital photography.  As I subsequently stood in my basement processing the film, I must admit that I had second thoughts about whether all of the hassle was worth it.  It’s especially frustrating when the effort of processing and scanning is undertaken only to find out that the camera is in some way defective.

Fortunately in this case, all is good.

And as I watched the images magically appear — first on the negative as it was unspooled following its final wash, and then in more detail on my monitor as the scanner did its thing — I realized for the 1000th time why I keep coming back to film: even mundane test shots look better on this antiquated “sensor”.

The following images are not meant to be interesting.  However, they are useful to me.  In them, I’m verifying:

  1. Shutter speed accuracy (in various types of light)
  2. Rangefinder precision (in near, mid, and far distances)

Technical:

  • Lens: Leica 50mm Summilux
  • Aperture: f/1.4 (except the last image which, because of brightness, necessitated f/2).
  • Shutter speed range: 1/60 – 1/1000 sec.

—Peter.

(focus is on the small word “Elect”, above the J)↓

(focus is on the number “50”)↓

(focus again is on the number “50”)↓

(focus is on the letter “G”)↓

(focus is on the poor sap )↓

(focus is on the faint word “KeepRite”)↓

(focus is on the round thermometer)↓

(focus is on the door of the house across the street)↓

Leica M2-R + Leica 50mm Summilux ASPH f/1.4.

Leica M2-R.

A warm body for those cold winter months.

—Peter.

 

Leica M2 and 35mm Summaron f/2.8.

Almost acquired this set.

But, I ended up with this one.

—Peter.

Baseball, revisited.

A suspended moment.

Baseball, revisited

↑Leica M2 or M3, Kodak Tri-X 400, and Leica 35mm Summilux FLE @ f/2.

That next step.

(please click on the image to view)

Leica M2, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.

The Madonna.

Outer glow ← inner glow, as captured on film.

(please click on the image to view)

↑Leica M2, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.

She, then and now (film).

A few years ago, I realized I had never captured her on film.

It was important to me for some reason.

So I started shooting film again.

_

(please click on the images to view)

2009:

↑Leica M3, Fuji X-tra 400, and Voigtländer Nokton 40mm @ f/1.4.

2010:

↑Leica MP, Ilford HP5 Plus 400, and Voigtländer Nokton 40mm @ f/1.4.

2011:

↑ Leica M2, Ilford HP5 Plus 400, and Voigtländer Nokton 40mm @ f/1.4.

2012:

↑Leica M2, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.

_

I look at these images now, and follow the path of light:

originating from the late afternoon sun,

filtering through the window,

touching her face before reflecting off,

traversing the distance between us,

bending in the glass elements of a lens,

and finally etching her image onto an organic emulsion.

_

The film, like the viewer, is forever altered.

And it all happens in a fraction of a second — just like growing up.

—Peter.

The baker washes up (1 & 2).

With the muffins safely baking in the oven, the clean-up begins.

(please click on each image to view)

↑Both images: Leica M2, Kodak Tri-X 400, Leica 50mm Summilux ASPH @ f/1.4.

The conversation.

(please click on the image to view)

↑Leica M2, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.