Hasselblad, Leica & Polish Models

Hasselblad, Leica & Polish Models

Matthew Osborne Photography / Mr Leica

October 2017

Here is the blog diary I wrote to document my last model photography trip to Poland on the flight home.  Sorry it took a while to share!

10 Models in 2 days.. Poland

Leica Summilux ASPH Portrait

Choice of Cameras

I really enjoyed using the Hasselblad 500CM medium format film camera in Tenerife and before I went I replaced the PM45 prism viewfinder with the much lighter and more compact waist level finder (WLF). I had been happy the camera looked more ‘classic Hasselblad’ and that it fitted into my camera bag easier but the final photos are what matters. When I scanned the film from Tenerife I noticed I had much more photos that were sub-standard as they were not tack sharp and many mis-focused slightly. I could only think it was me being less accurate at focusing using the WLF rather than the prism viewfinder.  The WLF is certainly more difficult for me to find focus. I refitted the Hasselblad PM45 prism finder in hope that my photos get back to the standard I demand.  I think my sharpest Hasselblad photos to date were model photography images shot in Hamberg with the 60mm Zeiss Planar lens but I also had success with it in New York and Poland previously using the 150mm Zeiss Sonnar and 120mm Zeiss Makro-Planar lenses.

I’ve started using a different small camera bag to my usual Billingham Hadley Digital (perfect for Leica cameras but not for the Hasselblad camera shape) as it gives me a bit more space and enough room for all of the below mentioned  cameras and lenses.  It is a really old bag I got free with an eBay film camera purchase but it does the job I need well.

Polish Girls

Hasselblad and Leica

The Hasselblad setup using the 180mm Sonnar and ISO 400 speed film will require enough light for a minimum aperture of f4 and shutter speed of ideally 1/125 or more (I will use the 500CM camera with a monopod to increase my chances of sharp photos).  I therefore packed a speedlight to boost light levels / brightness if needed.

I brought along the Leica M3 to use with available light. Using the Leica Summilux ASPH 50mm f1.4 lens and Kodak Eastman Double-X 5222 film I can shoot at f1.4, 1/50, ISO 800 (easily) in low light.  When there is sufficient light I will use the Hasselblad as much as possible followed by the Leica M3 (moreso in less light).  For all digital photos I will use the Leica M240 camera.

Voigtlander Nokton Classic 40mm

Final Kit List

    • Hasselblad 500cm 6×6 film camera
    • Zeiss Planar 60mm f3.5 CF lens
    • Zeiss Sonnar 180mm f4 CF lens
    • Leica M240 digital camera
    • Leica M3 film camera
    • Leica Summilux 50mm f1.4 ASPH lens
    • Voigtlander Nokton 40mm f1.4 lens
    • Carbon Monopod
    • Speedlight

Zeiss Sonnar 180mm f4 CF

Day 1 Model Photography

On my first day I had 4 models starting from 8:30. It was about 10 degrees colder than when I left the UK, overcast and raining in Sopot so not ideal conditions for a beach location shoot. The first photosession was all inside and all digital. The second shoot was a new model from the local model agency, Malva Models who I have worked with before. We managed to get outside briefly but it was cold and the rain kept starting again.

For the afternoon I was to revisit a makeup artists apartment that I shot in December 2016.  The MUA had invited her friend too so I had two models and seemingly unlimited creativity in terms of hair styles, makeup styles, cool props, a few different continuous light sources, light stands, a studio backdrop and a cute little dog called Boris to help us. The first 3hrs passed really quickly and I loved the results I was seeing. Next the wine came out and the shoot got extended as it was going so well. After that there was offer of pizza and more wine before the next look but my Leica M240 battery had almost died. Not wanting to miss out on the fun I ran the 2km back to my hotel, grabbed my spare battery that I had accidentally left behind and then 2km back to the apartment just in time for the pizza arriving. After very tasty food and more wine I setup the lights for a bedroom set. Throughout the photosession I was metering with the Leica M240 often shooting at the settings set for the Hasselblad film camera, f4, 1/60, ISO400.  I used both the new Zeiss Sonnar 180mm f4 lens and the Zeiss Planar 60mm f3.5 for wider shots or mainly for when there was not enough room for me to walk back with the 180mm lens to compose.  For the Hasselblad I was using mostly 120 Fomapan 100 black and white film metered at ISO 400 and 35mm Kodak T-Max 400 black and white in the Leica M3.   I used the Leica M3 camera without flash and with the Leica Summilux 50mm f1.4  lens shot wide open at 1/50.  After a very enjoyable afternoon and evening I finally got back to my hotel at about 21:30.  A perfect end to the first day and I could not have asked for anything better.

Behind the scenes!

Day 2 Model Photography

Former Miss Poland picked me up at 8:15 in a little sports car then we travelled to her apartment for the photoshoot.  I managed to finish the expired roll of Kodak Portra 800 shooting on her balcony using available light and then most of the other photos were inside with digital. We even managed some lifestyle photos with her dog.   As time goes on I seem to enjoy lifestyle photography more and more and it is one of the looks/ styles I enjoy to photograph.

Next I had another agency model I had spotted on Instagram but also from Malva Models.  I thought she was local when I invited her but she actually lived 3hrs away and came by bus. The weather was a bit brighter, warmer and drier so I made use of the beach location and shot almost all the shoot outside. When the light levels are low working on the beach helps as the water and sand reflect light up onto the model like a giant reflector.  The Zeiss Sonnar 180mm telephoto lens was a joy to use out in the open and in these conditions the 40mm and 50mm Leica M mount lenses suddenly felt too short. I wish I had brought the Leica Summicron 75mm f2 APO lens or Leica Summicron 90mm for more of a telephoto look. Next time!

Hasselblad 180mm Sonnar f4

The third model I spotted on Facebook and had sent her an invite on the chance she would respond.  It later became apparent she was signed to a Warsaw model agency but lived closer to Gdansk. From the first few test photos I knew it was going to be a good shoot. Even as a new model she could hold a pose and eye contact better than some of the full-time models and took direction really well.  This was perfect for the Hasselblad film camera that is a little slower to operate than the Leica M3. The next model cancelled so we kept shooting and I loaded a roll of colour Fuji Pro 400H to fire off in quick succession using the last of the evening sun. I really hope the Hasselblad photos look as good as they appeared in the viewfinder!

Fuji 400H B&W

The model after that was late so I had half an hour to run to a shop to buy some fresh bread to eat to keep me going and then I walked along the beach front to the pier to meet the model and her friend for an after sunset low light shoot.  We shot until it was completely dark and then it was back to the hotel for an indoor shoot with a girl I worked with a few years ago. It was a nice catchup and hopefully give a confidence boost plus some new photos for Instagram and Facebook.  We finished about 22:00 and that was the last shoot done for Poland. I had an early flight home the next morning.

Leica Summilux ASPH 50 Portrait

Summary

October is probably too late in the season to plan for lots of outdoor photos on the beach in Poland so I was happy I could use the new Zeiss Sonnar 180mm outside as planned. In all my previous visits to Sopot, the longest lens I have used is the 120mm Zeiss Macro-Planar so it will be good to compare the look of the 120mm vs. 180mm lenses at the same location.

I was very lucky to have been invited to the makeup artists apartment for most of the first day as we had heavy rain and not much light. My plan for the two days was to shoot inside the hotel as little as possible (as I have visited it so many times) and to instead find different backdrops to use.  I did reasonably well to achieve this goal I think.  My previous visit to Poland was mostly models photography with flash against a white hotel wall so I think this visit should hopefully bring more interesting pictures.

Leica Model Photography

I have high hopes for the Hasselblad 500CM film photos (especially with the new Sonnar 180mm lens) so I shot 7 of the 8 rolls of 120 film I took with me.  I used the Leica M3 less and shot 2 1/2 rolls of 35mm. As with all my model shoots some models screamed out ‘need to shoot this on film’ (because of the pose/ look, the clothes, the location, the light or all of them combined) and other less so. As such I think most of the film was shot with 3 or 4 models of the total 10.

Doing a shorter more intense two days rather than four days in Poland worked better as I had almost no time wasted/ down time compared to previous visits. I enjoyed meeting / and discovering some new faces and I will certainly keep in touch for future visits.

Polish Girls

Thanks

As with all my model photography trips, a huge thanks to the models, especially those that didn’t know me previously and who trusted me to give them some nice photos in exchange for their time. In no order thank you to models Dorota, Kinga, Pola, Marta P, Marta W, Weronika, Marysia, Paulina, Natalia, Kinga S, to Malwina at Malva Models agency and to Monika at the hotel.

I still haven’t developed all the film and I have held back some of the developed Hasselblad film images for a Hasselblad specific blog post that will follow this one.  As always more photos will be shared to my Instagram (@MrLeicaCom) and my Flickr as I get chance.  Thanks

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Model Photography – Tenerife

Model Photography – Tenerife

Matthew Osborne Photography / Mr Leica

September 2017

 

Intro

This morning I woke up tired, still smiling, and more tanned than I was a week ago. I had landed back in the UK in the early hours after three full fun packed days of model photography in warm sunny Tenerife! As with all my overseas photoshoots here is the usual summary of what I got up to, some camera specifics and a few thoughts thrown in too.

Olympus Pen-F Film

Camera Bag

  • Hasselblad 500cm 6×6 film camera
  • Zeiss Planar 100mm f3.5 CF lens
  • Olympus Pen F film camera
  • Olympus Zuiko 35mm f1.8 lens
  • Olympus 35RC film camera
  • Leica M240 digital camera
  • Leica Summilux 50mm f1.4 ASPH lens
  • Voigtlander Color Skopar 35mm f2.5 lens
  • Lumix LX100 (Leica D-Lux 109) digital camera

 

L1002867v2crrop

Cameras.. including dusting off my Hasselblad 500cm for a trip away

I edited a Hasselblad film scan that I had taken in Paris back in February and I forgot quite how good the detail is in the 6×6 film negatives compared to 35mm. When I bought my first Hasselblad, a 501c, I really struggled to focus using the waist level viewfinder (WLF) so bought a PM20 prism viewfinder. I found this easier to use and the Hasselblad became more similar to the Contax 645 in that regard. I absolutely love the magic of my Mamiya RZ67 Pro 2 WLF so I’ve always been a bit disappointed that I didn’t get on well with the Hasselblad WLF and the acute matte bright focusing screen (glass). I think I often use the excuse that I’m not taking the Hasselblad as it is too big as this can be the case but it doesn’t need to be. The PM45 prism does add both weight and size to the camera and the Zeiss Macro Planar 120mm f4 is bigger than the kit lens. I’ve never been a fan of the Zeiss Planar 80mm f2.8 CF kit lens as I think it is softer than the 50mm, 60mm, 100mm and 120mm Hasselblad lenses in my opinion (the 150mm is buttery soft but in a great way). In 2015 when I was in full Hasselblad swing and fast become Mr Hasselblad rather than Mr Leica I bought a Zeiss Planar 100mm f3.5 because it is almost as small as the 80mm yet crazy sharp and with little distortion. I had it a week then decided it was a lot of money when I could just use the 120mm Macro Planar instead to achieve equally sharp results yet also get closer to my subjects without the need of an extension tube. I saw a classic shot of a Hasselblad 501c on Instagram and it reminded me how pretty the camera looks with their WLF compared to with a prism finder. A Hassy just doesn’t look quite the same without the WLF and it just seems right to see the image on the top of the camera. I decided to put my WLF back on my Hasselblad 500cm (the 501c awaits repair) and if I centre my subject on the ground glass cross hair for the part I want critical focus I can see to focus. On most of my other non-rangefinder cameras I can see to focus anyway within the frame but the Hasselblad Acute matte screen goes a little pearlescent/foggy if look at some angles. I practiced focusing with close up subjects and it seemed doable. I then switched back to view the same subject with the prism viewfinder and noticed the view was much less magnified. That made me like the WLF more and then main two advantages of having the WLF fitted is 1, it packs much smaller (and lighter) and 2, it just looks right and how it should be used (and very cool too!).

RW_151v2.jpg

So with that I now had a compact (standard rather than enlarged) Hasselblad 500cm camera body and film back ready to go. I was then back to the debate of what lens to take. The 120mm is big but very sharp and lets me go close but I find it makes me take mostly headshots as it sucks me into the subject. The 60mm focal length was my standard lens when I used my ARAX-CM (Kiev 88) in my earlier photography days. It let me go closer than an 80mm and the 35mm field of view was perfect for environmental portraits and street scenes when I was shooting in India and other places (search ARAX on my Flickr feed for examples). I bought the Zeiss Distagon 60mm f3.5 CF when I got the Hasselblad 501c and have used that for perhaps 50%+ of my photos. At the time I liked the images and for portraits of men I love the distortion a 60mm lens gives up close. For girls however I’m now starting to prefer the flatter less distorted view of a slightly longer lens (to avoid the big noise look!) the 60mm is also smaller than the 120mm Macro but still bigger than the 80mm. I was then back to deciding whether I would be happy using the little 80mm lens or not. I viewed a few 80mm lens photos I could find and didn’t hate them and then I viewed the few 100mm photos I had taken when I had the lens for a week. Wow they were sharp, almost too sharp even at f4-f5.6. Two days before my flight I got in touch with my friend at the now called Camera Museum in London and they kindly shipped out another Zeiss 100mm f3.5 CF lens for me. So I was all set with my new compact Hasselblad 500cm setup with WLF and uber sharp yet compact 100mm lens. My Hasselblad was looking sexy again!

IMG_4644.JPG

After taking my Leica film cameras on almost every overseas model photography trip I decided to mix it up a bit and pack my pocket size full frame 35mm Olympus RC35 as I was hoping it would be bright conditions and the camera is super sharp stopped down a little. I also packed another camera I have a real soft spot for, the amazing Olympus Pen-F half frame film camera. As I shoot 99% models/ portraits I often find I don’t photo other subjects on film as I think I will never use the images. The real beauty of the Pen-F is with 72 photos per roll you can be snap happy and photos anything and everything. I’ve started including a few non people photos on my @MrLeicaCom Instagram feed so I thought I could try to get some little arty shots with the camera in addition to portraits. Considering the Olympus Pen-F is half frame you would expect the film scan of the tiny negatives to be really low resolution but in reality it seems the opposite. I have made some crazy sharp photos with the Olympus Pen F camera. The effect can be made even more dramatic I you load fine grain film like black and white Ilford Pan F 50 or the amazing (yet pricey) Fuji Provia 100F E6 slide film. I decided to treat the Pen-F to a roll of 35mm Provia 100 and would shoot more black and white film in the Olympus RC35. For the Hasselblad I packed both colour film and black and white film and even included a roll of expired E6 Fuji Velvia 100 to shoot and then try cross processing it in my C41 Tetanol kit chemicals. I have two Sekonic lightmeters but I find because I am always shooting digital and film together I meter with the digital camera LCD instead. I packed the little Lumix LX100 (Leica DLux109) as a backup and my Leica M240 as the main digital camera. For my workflow with models I like to use a digital camera to warm them up first rather than shooting film straight from the first pose. The digital LCD also helps me show models what I am trying to achieve and often gives them a confidence boost once they know they look good on camera. If I was shooting only film I think a new model especially would struggle to not be able to see how she looks plus they can’t see what I am doing nor if the results are worth their time in front of the camera. Models can also spot things on the back of the camera LCD images I may not such as clothing malfunctions or hair not behaving itself or need for more makeup etc. As such this hybrid style of shooting using both film and digital side by side works well for me. I also find digital very beneficial when I am using strobes as you can’t quite visualize how a photo will look when flash lit compared to using available light.

IMG_4643v2

Overseas photoshoot with UK model

Normally when I do model photography overseas I work with local models at the location I visit. The problem my Coventry UK regular models have is we normally shoot in the house or home studio. I think I have used every wall, doorway and window so many times I now need something more inspiring. In addition to this, some clothes can look amazing on a model but they need the correct setting or backdrop to look their best. I asked Lindsay, a model I have work with quite a lot in the last 12 months if she’d like to do a photoshoot in Tenerife and to my delight she agreed. When booking flights and hotels with a model the key criteria for me is reliability. Many models have highs and lows so one week they will be really keen then they go off the radar for six months. That doesn’t really work for overseas trips. I visited Tenerife once before so I picked an area I was slightly familiar with. The difference this time is I have a model there to work with so I’m excited to see what we can create.

Available Light Portrait

Photoshoots – Day 1

Lindsay and I arrived into Tenerife late morning and got started straight away. Luckily for me Lindsay is great at doing her own hair and makeup and we’d discussed clothes beforehand so we had a pile of cool garments to work with. The weather was around 21 degrees in the morning and 27 degrees in the day with blue skies and strong direct sunlight. Our hotel room had a balcony with a sea view so we had that as an additional location to use. Being situated right on the coast we had a sea breeze which worked well for hair moving in the wind pictures. I started using the Hasselblad quite quickly and soon got to grips with focusing via the WLF (I think anyway!). The camera felt stable to use without a monopod or tripod and I was using shutter speed of 1/60 or faster. I realised there was some Kodak Vision3 50D Motion Picture film in the Olympus Pen F so I finished that roll on the first day. We went to the coast for sunset but the light dropped quite quickly and too fast for me to use my Hasselblad and f3.5, 1/60, ISO 100 film. It was a pity as Lindsay created some amazing hair for me and wore a red outfit I was looking forward to shoot. We got some shots in the low light but almost all on digital. Once the light had faded we went back to the room then I went out for a quick moonlight run just along the sea front. Not far as it got too dark to see my feet but I still loved it.

Olympus 35 RC

Photoshoots – Day 2

We set our alarms and walked down to the coast before breakfast to catch sunrise at 8:00. It was not that easy to shoot into the sun and correctly expose the model but we tried a few different setups. Once the sun was up we walled back and enjoyed an amazing hotel breakfast. Lindsay changed clothes, hair and makeup and headed outside again and found this fantastic derelict building. This was to be our playground for the next 2-3 hours. I was whooping every 5 minutes the light was that good and Lindsay just got better and better. I give models directional pretty much constantly throughout a shoot to fine to a pose before I click the shutter. I think models have to be quite patient with me barking orders at them and continually shouting “wait wait wait, again again” as I swap between cameras, and tweak my composition or point of view. Hopefully the pictures are worth it though and Lindsay mentioned she has got a lot more keepers (photos she likes) when shooting with me in the past so I guess that’s good. In the afternoon we did a lingerie shoot in the hotel room and then had a bit of downtime before the golden hours so I made the most of it and went for a run along the coast. As sad as it sounds it was one of the best experiences of 2017. I absolutely loved it! Running on single track routes weaving between the rocks and cactus, hopping across boulder fields and the beautiful coastline alongside. One of my wild ideas is to get into Ultras. These are 50K-100K plus endurance fell running events often on similar terrain to what I was enjoying. I just love the exploring aspect of it all. Running on tarmac roads around Coventry doesn’t really do it for me but I will try to build up a base fitness in the meantime. It will also work well for future Ironman events.

runv2

I got back from the run then we went straight out the door again for a sunset shoot. The sun was setting inland to where we were situated so only really gave us some low direction light rather than pretty classic sunset shots. I decided to load the Fujicolor C200 film into the Olympus PenF for an extra stop of light (verses the Fuji Provia 100 film). Once the sun had gone down we continued to shoot until I was at ISO 6400 on the Lejca M 240, f1.4 and 1/30. By that stage I couldn’t really see Lindsay anymore to focus so we finished our days photos and went for some well-earned food and drinks.

Leica Location Shoot

Photoshoots – Day 3

Last day already yet we’d done so much in just 2 days we felt we had been in Tenerife much longer. For sunrise I still had black and white film in the camera so had to use that first. I might pack 2 Hasselblad film backs for my next trip (one film back loaded with colour film and another film back with black and white film). I then wanted to try shooting a roll of Fuji Velvia 100 with the intention to cross process in C41 chemicals. From my research I believe the film scans will look completely red, with a lot of contrast and not much detail. I don’t know if the photos will be a success but I tried to compose some simple compositions and fired the 12 shots off in reasonably quick succession. After breakfast we did one more indoor shoot to use our hotel room before we had to checkout. I loaded a roll of 120 Kodak Ektar 100 and really hope the photos look as good as they did through the viewfinder. Fingers crossed! Prior to check out Lindsay accepted my look request of curly hair, my favourite retro looking red swimming costume and makeup to match. We went out and shot the red outfit against the blue sky and finished with my sunglasses the look was complete. I loved it but what photographer doesn’t love red! I finished my roll of Ektar film and that was the last photos for the Hasselblad. Six rolls of 120 film shot in total. I didn’t think we’d use all the 120 film so it shows how well we had done (I don’t shoot film unless I like what I see). I will bring more rolls of 120 film next time if these images turn out OK. I also finished the Fuji C200 in the Olympus Pen-F but we were mid-way through some amazing photos so I loaded the Fuji Provia 100F slide film to make the most of the red outfit and cool hair / makeup. Lindsay changed clothes and we took a walk along the coast. I saw some photogenic steps coming out the sea so we shot there first then Lindsay decided she wanted to lie on the rocks with the water around her. I said she was crazy but we got into position to get the shot. 30 seconds later a big wave came along engulfing Lindsay and washing her straight off the rock. I must have instinctively pressed the shutter as it happened and managed to catch the just before and the aftermath. Poor Lindsay was a bit scrapped and battered but saw the funny side. A few wet hair photos then back to hotel reception to rest. I made the most of my last free hour in Tenerife and went out for one last run, determined to reach the summit of a distant hill within the allotted time. I did it and even managed to shoot some video on my iPhone for my Instagram feed. I think I will finally buy a GoPro camera soon to capture some behind the scenes footage from our photosession and my various antics.

Leica Fashion

Conclusion

Tenerife was my first photoshoot trip where I travelled out with a model to an overseas destination. I did a debrief with Lindsay at the airport while we waited for our flight as to what we could do better if I was to organise a similar overseas photoshoot trip. Overall it had been a huge success and for me personally it was a near perfect mix of photos, sunshine and training and with great company too. Working 1-2-1 with Lindsay for 3 days really pushed our creativity to keep producing different looking photos time and time again. It’s quite impressive what you can think of when you try and have an environment that inspires you to shoot. Lindsay and I were both very keen to get to most out of our trip and as a result didn’t visited the hotel pool once to relax in the sun. We both agreed we are very keen to do it all again but next time also look to invite at least one more model and for a larger event the possibility of makeup artists and a stylist/ wardrobe person too. More models would mean individual models would get to relax a little between shoots. Makeup artists would be beneficial for models not as confident as Lindsay at doing their own hair and makeup and a stylist can bring unique garments that can’t be found easily on the high street. As a minimum, Lindsay and I will be going back to Tenerife for another 3 day shoot as soon as we can!

Sunrise

For me personally next time I would try to pack two Hasselblad film backs and more 120 film, using it as my main film camera for all key images where there is sufficient light. I would probably replace the Olympus 35RC and Olympus Pen-F cameras with my Leica M3 to capture high quality images when there is insufficient light for the Hasselblad. I could use the Leica Summilux 50mm f1.4 lens on the Leica M3 for low light and then use the Leica Noctilux 50mm f1.0 lens on my Leica M240 for more unique looking images. If I had more people on the photoshoot I would pack a reflector for someone to hold and then not bother with taking any speedlights. If it was only me and Lindsay (or one other model) I may try to take my digital Hasselblad H3D and use it with strobes. Why take the H3D? Because it has a flash sync speed of 1/800 vs. 1/180 for the Leica M240.

Are you a model and potentially interested in joined me on a future shoot? Is it for you?

In summary if you are a creative (and reliable!) model that enjoys creating TF images in your free time and are happy to cover your own expenses plus put up listening to me for three days then get in touch! If you are good at hair and makeup that is ideal, if not I am open to models bringing their own makeup artists along if the MUA is happy watching or relaxing during our shoots. If you are a model with an interest in clothes then your creative mind can only help enhance our photos and you are very welcome. For anyone interested please get in touch and I can give you more details including approximate costs (based on this trip).

*Update – January 2018 Tenerife trip is already booked with limited availability for models but if it goes well with this bigger group then I will organise more model photography location shoots.

Sea View

1-2-1 Model Photography Workshops – Overseas

I could also look at potentially organising overseas 1-2-1 model photography workshops. If you want to shadow me working with Lindsay or another model and have the opportunity to take photos to build up your portfolio I’m sure I can arrange something. I have done 1-2-1 photography workshops in overseas cities before such as New York or Zurich but working with local models rather than UK models.

L1003969+1.jpgInstagram @MrLeicaCom

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Ukraine Models 2016 (#2) – Leica M240

Ukraine Models 2016 (#2) – Leica M240

Matthew Osborne Photography / @MrLeicaCom

January 2017 (from July 2016)

Leica Selfie

Pre-Intro

I wrote this on the plane and bus when travelling back from Ukraine in July 2016.  I then managed to lose the majority of what I had written as it didn’t sync from my iPhone to the PC.  It took me 6 months to then re-write this amongst all the other shared and not yet shared blog posts and the piece is probably half as long as the original I lost. Apologies!

Intro

After an enjoyable model photography trip to Western Ukraine in May 2016, as soon as I got back to England I booked a follow up trip planning to be bigger and better than the first.

Ukraine is an amazing place for me as I can walk the street in a town centre and perhaps 7-8 out of every 10 girls aged 18-25yr (say)  look ‘good’. By that I mean well presented in nice clothes, dresses and skirts paired with high heels, often long shiny hair and with a slim elegant figure that catches the eye. Walking everywhere is popular and fast food is not yet that common so most people tend to be much slimmer than we see in the west.  Models I photo in the UK that are slim are often labelled ‘too skinny’ yet to the Ukranian girls these slim girls merely looks ‘pretty’ and normal size. I guess our eyes get used to the body shapes we see around us each day.  To me the UK is like the US.  The people that are interested in keeping in shape are super in shape (and this is proving very popular for fitness models on Instagram) and then everyone else is now bigger than historically what was the average size.  The problem for me as a model photographer in the UK is there are so few super in shape models in England that the demand  for them is sky high from fellow photographers (which is most people now everyone has a camera!).  The girls become mini-celebrities in the model world fueled by Instagram so I never actually get to shoot with most of them.  In contrast I can go to Hungary and shoot Miss Universe within 4hrs of a contact making a telephone call.  This inbalance which is why I shoot mostly overseas and favour Ukraine, Poland and Hungary (of the countries I visit most).

Models

Back to the trip..!

As I used to work in Ukraine most of my Ukraine ‘models’ prior to 2016 were/are just normal girls, often studying, doctors, dentists and lawyers seeming the most popular of those I meet. In May I collaborated with the local model agency and started to work with girls that both looked nice but also had some professional experience in front of the camera working on contracts with larger agencies overseas such as IMG and Woman Management Paris. In May I think I only filled the time I had remains with agency models and spending the rest of the trip photographing model friends from previous visits.

After successful model photography trips to Hamburg, Budapest and Sopot working solely with model agencies this time I asked the Ukraine model agency to supply all the girls / models for my visit (with a few friends added at the end to fill gaps). Normally I work with the same faces each visit but this time I met 11 new faces of the 14 girls I photographed with and 16 photoshoots in all across 3.5 days. This was a great decision and I met some really high standard models and potentially faces to look out for in the future. Some of the girls really brought a fashion feel to the photographs with their own style and posing, others were just extremely beautiful people. There was a really selection of looks and personalities which I think helps to produce a diverse set of photos. Some girls were just great from the first photo and others needed warming up a bit but I think every model produced either a few or a lot of good images. They seemed happy and my big grin showed I was too! One model even asked “Do all English people smile as much as you?” I replied “If they came to Ukraine probably yes!” 🙂

Makeup

The one thing I am starting to appreciate the more model photography I do is don’t underestimate the power of makeup! I now ask all models to bring makeup and I either direct the look I want, apply additional makeup or do all their makeup for them from scratch. I don’t yet own makeup but I feel I might have to soon invest. Not all girls own a lot of makeup in Ukraine so I was using none mainstream approaches to get the look I desired, lipstick for eyes lips and cheeks or eye pencil for eyes, cheeks and lips!  I basically used whatever they had.

Clothes

For my style of model photography the hair and face is normally the key part of the image with clothes always being secondary. If a model has a good face I could wrap them in a hotel towel and they will still look good. I light for the face and the rest of the photo is often less important to me.

Language

As with previous visits language is always a slight barrier but my Ukrainian is very slowly starting to improve as I pick up new words each day just by being in constant contact with the people there. As with previous visits I can normally get by with a smile and hand signals for the most part but it is nice to learn new phrases and improve my communication.

Clothes Designer from Kiev

Ahead of the May trip to Ukraine I contacted a clothes designer in Ukraine on Instagram commenting nice clothes and we should collaborate or words to that effect.  To my amazement and to a cut a long story short, the designer travelled 13hrs on a train from Kiev to meet me and brought her clothes (and steam iron!) along too. She was even still finishing sewing garments on the train from Kiev. I spent a full day with Eva and we worked with local talent to model her clothes for photos. I have done clothes shoots in the studio before but it is often product photography so headless photos and I just concentrate on lighting the garments. As mentioned above I only light for the face for my own work. Shooting models on location with one speedlight proved quite tough as if the face looked good the clothes didn’t and vice versa. The only problem with all my overseas model photography trips is I am using the most basic (Leica cameras are of course very nice but I mean using mostly small cameras and small lenses) and minimal equipment (maybe a speedlight).  When I shoot in the UK I get to play with all my big lights (which I love) and it’s pretty hard to make a bad lit photo.

Modeling

Eva looked amazing to my English eyes even though she was not a model so I managed to persuade her to have a photoshoot before she left.  The photos we made together were some of my favourites from the whole trip.  (*If I see a beautiful person, guy or girl, anywhere, I always have an overwelming urge to talk to them and try to make some photos together.  I know inside me that if they let me take their picture they will like the photos and that gives me the confidence to approach them.  One of my life long goals is to photograph the most beautiful humans on the planet.  To me a beautiful person captured on film in flattering light is as good as it gets). 🙂

Cameras

I had my usual digital Leica M240 camera (which still needed the rangefinder calibrating) and the Voigtlander Color Skopar 35mm f2.5 lens that has been permanently attached for quite a while. I know if I use the lens at f4 I can sharp photos despite the misaligned rangefinder due to the depth of field. I knew I wanted to do strobist work so decided to take my Nikon F4 SLR instead of a Leica film camera as the F4 has a flash sync speed of 1/125 instead of 1/50 so it is easier to balance ambient light and strobes. For the Nikon F4 I took the Voigtlander Ultron 40mm f2 lens as it is small and sharp.

Here are some digital Leica M240 example photos and I will write a second blog to share the Nikon F4 film scans.

Example Photos – Leica M 240

Leica M Typ 240 B&W
Real Ukrainian Woman
Leica B&W Portrait
Window Light
Available Light Portrait
Available Light Portrait
Ukranian Woman
Leica M240
Clothes Designer
Leica B&W
Supermodel
Street Portrait
Ukrainian Women
Direct Sunlight
Sssh!
Leica M240 Colours
Ukraine Summer
Ukraine Girls
Ukraine Shoot
Leica Fashion
Ukrainian Woman
Voigtlander Skopar 35mm
Ukrainian Model
Fun in Ukraine
Window Light Portrait
Ukraine

Sorry this post was so late.  I still have the film photos to share from this visit to Ukraine too.  To follow!

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Leica M Cameras – All I Need

Leica M Cameras  – All I Need…?

Matthew Osborne Photography / Mr Leica

January 2017

Camera Porn!

Keeping it Interesting

After returning from my Budapest model photography trip earlier this week I have been trying to think what other cameras I can take on my next overseas photo shoot to try to produce more interesting or different looking images to my recent photos.  I often shoot with a 35mm lens on my Leica M cameras whether the digital Leica M 240 or the Leica M film cameras.  (I write ‘Leica M’ camera / lenses as the Leica R camera is an SLR camera system rather than a rangefinder camera so different ‘rules’ apply).

Alternative Film Cameras

I often complain that I can’t focus as close as I would like to for my model portrait photos so I was thinking of cameras that can get nearer than the 0.7m Leica rangefinder standard minimal focal distance.  Other ways to create different photos to my usual view of the world might be to use a very shallow depth of field or perhaps use a longer lenses to get more compression in the photographs.  (I have done all of these things before but less and less over the last 12-18 months).

I still love my Hasselblad 501C medium format film camera and in my mind it has captured some of my high quality film photos but it currently needs a little TLC so I don’t really want to take it overseas until it’s repaired. I then have various other very good cameras in their own right such as the Mamiya RZ67, Mamiya 6, Fuji GF670, Fuji GA645, Hasselblad Xpan, Nikon F4, Mamiya 645 but when doing a quick comparison they all have some drawback vs. the Leica M camera system.  I then tried to think what each of these cameras offer compared to a Leica M camera setup and other than the film format (film size; 35mm vs. 645 vs. 6×6 vs. 6×7) the differences were minimal (in simplified terms*).

Different Lens Characteristics

I made a list of lens characteristics I see as positives from a camera/lens combination for my model photography and taste and then listed some potential Leica M mount lenses I use for each characteristic (non-scientific and my opinion only*)(I just listed the most obvious choice to me but many lenses could fit many lists*).  I use these lenses on any of my Leica M film camera such as a Leica M2, M3, M4-P, M6 etc.  (I state ‘film cameras’ as I want to compare Leica film to non-Leica film.  I am not too interested in digital photography but as I use a Leica M 240 digital camera the same list applies to my digital work).

Leica M Mount Lenses

  • Shallow depth of field

  • Leica Noctilux 50mm f1.0 v2
  • Leica Summicron 90mm f2 Pre-ASPH
  • Leica Summicron 75mm f2 APO

Leica M9 + Noctilux f1

  • Wide angle lens

  • Voigtlander Super Wide Heliar 15mm f4.5
  • Zeiss Biogon 21mm f2.8
  • Zeiss Biogon 25mm f2.8
  • Leica Elmarit-M 28mm f2.8 ASPH

Leica Street Portrait

 

Close focus ability (for tight headshots)(visually not in mm*)

  • Leica Summicron 75mm f2 APO
  • Leica Elmar 50mm f2.8 + SOOKY-M (close focus goggles)
  • Leica Summicron 50mm f2 DR (Dual Range) + close focus goggles
  • Leica Elmar 135mm f4

Summer Love

  • Sharpest image quality

  • Leica Summicron 75mm f2 APO

Portrait Photography Workshop, London

  • Crisp contrasty modern look

  • Leica Summilux 50mm f1.4 ASPH
  • Leica Summarit-M 50mm f2.5
  • Leica Summicron 75mm f2 APO

Summilux ASPH 50

  • Soft glow vintage look

  • Leica Elmar 50mm f2.8
  • Leica Summaron 35mm f3.5
  • Leica Summarit 50mm f1.5

Leica M8 B&W Portrait

  • Small compact lens size

  • Voigtlander Color Skopar 35mm f2.5
  • Leica Summaron 35mm f3.5
  • Leica Elmar 50mm f2.8
  • Voigtlander Nokton 35mm f1.4
  • Voigtlander Nokton 40mm f1.4
  • Leica Summarit-M 50mm f2.5

Leica Fashion

  • Fast lens with wide aperture for low light

  • Voigtlander Nokton 40mm f1.4
  • Voigtlander Nokton 35mm f1.4
  • Voigtlander Nokton 35mm f1.2 ASPH ii
  • Leica Summilux 50mm f1.4 ASPH
  • Leica Noctilux 50mm f1.0

Noctilux - After Dark

  • Unique lens characteristics

  • Leica Summicron 90mm f2 Pre-ASPH
  • Leica Elmar 135mm f4
  • Leica Summarit 50mm f1.5
  • Leica Summaron 35mm f3.5
  • Leica Noctilux 50mm f1.0

Street Portrait

  • Compressed image style

  • Leica Summicron 75mm f2 APO
  • Leica Summicron 90mm f2 Pre-ASPH
  • Leica Elmar 135mm f4

Leica Elmar 135mm f4

  • Low cost lens (In Leica M mount terms)

  • Voigtlander Nokton 40mm f1.4
  • Industar 26M 52mm f2.8
  • Jupiter 3 50mm f1.5
  • Leica Elmar 135mm f4

Leica M9 + Industar 26M 52mm f2.8

  •  Highest resolution images – Fine grain film stock

  • Ilford Pan F5o
  • Ilford Delta 100
  • Kodak Vision3 50D / Cinestill 50D

Leica M6 + Ilford Pan F 50

Image Resolution

For film cameras the equivalent of a high mega pixel digital sensor is fine grain films which play a huge part in the final look of a film photo no matter what lens is used.  As an example here is a half frame film scan from a Olympus Pen-F SLR camera.  Half frame means half the size of a normal 35mm Leica film negative.

Olympus Pen-F Fashion

As these photos are half the resolution of a Leica M camera photo (in terms of film negative size scanned) then with fine grain film and a sharp lens there is great potential to capture very detailed film photos without the need of a medium format camera.

Budapest Models – Leica Ms

Budapest Models – Leica Ms

Matthew Osborne Photography / Mr Leica

January 2017

Budapest Tram

Model Photography

I’m writing this post on the flight home after 3 days of model photography in Budapest, Hungary. As usual, I booked myself up with models each day shooting 8:00-18:00 on the full days.  The models were a mix of agency models from NumberOne Model Group, friends of the model agency, models I met on past trips and a few pro-active models that organised a direct booking with me through Instagram (@MrLeicaCom).  I stayed in an apartment in Central Budapest and used this as my base. The ideal plan was to shoot outside on location as much as possible as we were located close to the Chain Bridge over the Danube river and opposite Buda Castle.  Unfortunately the weather was below freezing and there was ice in the river so we had to shoot inside for the most part.   The apartment was different to how I envisioned from the online photos with almost no window light and none that was bright enough to use for photos.  As such I had to get creative with my artificial lighting so bare this in mind for every indoor photo.

Budapest Models

Leica M Gear

I carried my Billingham Hadley Digital camera bag and in it packed the following Leica cameras and lenses (except the Summarit 50/1.5 that I added separately after).
  • Leica M 240 camera (digital body)
  • Leica M4-P 35mm film camera
  • Leica M4-P 35mm film camera (II)
  • Leica Summicron 75mm f2 APO lens
  • Leica Summarit-M 50mm f2.5 lens (new)
  • Leica Summarit 50mm f1.5 lens (1950s)
  • Leica Elmar 50mm f2.8 lens + SOOKY-M close focus goggles (1950s)
  • Leica Summaron 35mm f3.5 (1950s lens)
  • Voigtlander Nokton Classic 35mm f1.4 lens
  • Leica Elmarit-M ASPH 28mm f2.8 lens

35mm Film – The Plan

The plan for Budapest was to try to keep it simple and shoot mostly black and white film after having shot a lot of colour film on my last model photography trips to Poland and Budapest.  I packed mostly bulk loaded Kodak Eastman Double-X 5222 film but also some fine grain films to shoot as a comparison. Other films included Ilford Pan F 50 and Ilford Delta 100 film both which I regard very highly and also some Kodak T-Max 100 as I love the black blacks of T-Max.  I had thought about taking only B&W film but from fear of missing out I packed a few rolls of C41 Fujifilm Fujicolor C200 (as I like the fine grain), some Kodak Portra 400 (as I haven’t home developed Portra film yet) and a roll of my bulk loaded Kodak Vision3 50D. All these films are daylight balanced so no need for lens filters. (I use an 85B filter for my tungsten balanced films).  I plan to have one Leica M4-P loaded permanently with Kodak Double-X as my do everything film and in the other Leica M4-P camera use films specific for that model shoot.  I will try to shoot a few photos on both cameras so I can compare the results of different film stocks. That was the concept!

35mm Film – The Reality

In reality it didn’t happen as planned and after 2 days I had only shot less than 1 roll of colour film and 1 roll of black and white film. Why?  Shooting film (in addition to digital) is not suitable for all models or all situations.  When I create artificial light with strobes I cannot see the results until I have taken the photo digitally. This is fine if a model allows me to take a photo with both cameras without moving dramatically but some models move on every click of the shutter so are unable to repeat a pose that may have caught my eye and that I deemed good enough to capture on film.  Additionally some models inspire me more than others and for these models I shoot a lot more film than for those where the photos are not really my style.  I also prefer to shoot film outside to inside as I find outside photos more interesting but this is not always possible in the winter months.  I did manage to do some quick outside photos (and moreso in the last day in an attempt to use the city location) and most of the film was shot during these times.

When I was photographing a model against a white wall in Budapest I tried to avoid using film (mostly) as in Poland perhaps 80% of the photos had a plain backdrop which can be very boring to view unless the model is particularly interesting. I also tried to limit all photos taken against a plain white wall for Budapest where possible to try to make the photos different to Poland and hopefully more interesting as a result.  Although the apartment had almost zero window light it did have some unusual features so I tried to use every inch of the house to make pictures. Some areas of the apartment were used on multiple model shoots but that can only be expected when working with lots of models in a relatively small space.

Miss Universe Hungary 2015

Leica M Lenses

Taking an array of different Leica M lenses to Budapest was a real plus and the biggest differentiator when comparing to other model photography trips i’ve done in the last 12 months. I had 1950s vintage Leica lenses; Leica Summarit 50mm f1.5, Leica Elmar 50mm f2.8 and Leica Summaron 35mm f3.5,  that captured low contrast softer focus images with a nice glow and then lenses like the Leica Summicron 75mm f2 APO that gave high contrast super sharp very modern looking photos. I found I used the Leica Elmar 50mm f2.8 and Leica Elmarit-M 28mm f2.8 lenses the least I think. The new Leica Summarit 50mm f2.5 lens was used the most (especially with film on the Leica M4-P cameras) and then the vintage Leica Summarit 50mm f1.5 and Leica Summaron 35mm f3.5 were probably used equally for inside photos. The Leica Summicron 75mm APO was used most outside. After shooting on 35mm lenses for so long I found the 75mm focal length too long much of the time and it more difficult working at a distance from a model, especially for fast focusing. I can’t imagine now how I used to shoot models on a 200mm Nikkor prime lens in my preLeica days.
I imagine most fellow Leica shooters would question why I bought the f2.5 50mm Leica Summarit lens when I have an f1.0 Leica Noctilux, f1.4 Leica Summilux and f2 Leica Summicron 50mm lenses already which all require lens light and give arguably better bokeh and better subject background separation. The truth is the small lens size is more important to me than all of those features (*When I have a choice of what light to shoot in.  Obviously for a Leica wedding a fast lens is the correct choice as I cannot control the light in every situation).  I often control the brightness of my strobes with the lens aperture to balance artificial light mixed with available light. As such the lenses are stopped down anyway a little so none of the faster Leica glass benefits would be seen or used. I also stop down a little sometimes when shooting film to get a balance of sharpness, detail and depth. Despite this comment, for the vintage lenses in Budapest I shot them wide open 99% of the time to get the maximum vintage look effect. I would also do the same with the Noctilux f1.0 otherwise there is little point in using this lens in my view.

Budapest Models

As with all trips the models varied enormously in personality, background, vision, style, experience and ability. Models that can create their own hair and makeup have an advantage over those that don’t and who don’t use an MUA (make-up artist).  Dancers often create the most elegant shapes and poses with their bodies and actors often create the best emotions and expressions with their faces. Models with an interest in clothes and fashion may have a huge wardrobe of clothes to chose from and those models in good shape can wear pretty much anything (or nothing!) and still look amazing.  Models with 3-5 years plus experience can also bring great ideas to the shoot from past experiences.  I guess to summarise, experienced models are often much more focused to get a job done and hopefully get the new images they desire for their model book/ portfolio.  For Budapest I experienced a mixture of all of the above in varying combinations but what impressed me the most was that they found time to fit in the shoot amongst often crazy busy schedules juggling work, business meetings, study, exams and other photo shoots both before and after me.  I think this level of commitment to a shoot is one of the most difficult characteristics to find no matter how beautiful the model.
Some of the models I met previously continued to impress and really were a pleasure to work with.  A few of the new faces I met were also a real delight to collaborate with and I think I grinned ear to ear throughout many of the shoots. I feel very fortunate to meet such individuals and I think it is these experiences that fuels my desire to find similarly talented people in the countries I visit. When very experienced models are smiling at the back of my camera LCD and saying they like our work it gives me a real boost and is also quite humbling.  I wouldn’t expect this sort of excitement or comments from professional models that have received photos a hundred times before.

1950s Leica Elmar 50mm f2.8 + SOOKY-M

Thoughts

I like to have a debrief in my head after each model photography trip to try to understand what worked well and what I could do better.  If you have followed me for a while you may have noticed I like to cycle through my different film cameras to keep it interesting (for myself!).  I have used the 2 Leica M4-Ps cameras together with the digital Leica M 240 on the last two trips so I am tempted to take a medium format camera for the next overseas shoot.  The biggest limitation I have is my hand luggage size and the camera needs to create photos different to what I can do with a Leica camera to make it worth while.  I find all rangefinders have the same limitations whether a Leica film camera, Hasselblad Xpan, Mamiya 6 or Fuji GF670 and can’t focus very close thereby producing similar pictures.  The Mamiya RZ67 is just huge so too big to pack, the Hasselblad 501c can fit with one small lens attached (but I need to repair the shutter release button housing that had come off) The Mamiya 645 is slightly smaller than the Hasselblad so mighbe be an option.  The Fuji GA645 is the obvious small medium format camera choice but again I can’t get super close (0.7m).. Hmm.
As with the last three model photography trips for the next visit I will try to work outside more, weather permitting.  I think I will always pack both colour and black and white film as sometimes the models clothes really benefit from being captured in colour.  I will wait to develop the C41 colour film from Budapest before deciding if I prefer the film colours of ECN-2 motion picture film crossed processed in C-41 chemicals or the more standard C41 film colours. *ECN-2 film is the Kodak Vision3 film I use.  I hope the photos are as nice as I remember after all this blurb!  Coming soon but mostly digital for the reasons detailed above.  (I think the final count was 4 rolls of 35mm film, 2 B&W film, 2 colour film and sorry no film comparisons.  Maybe on my next trip!

Leica Summaron 35mm f3.5

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Leica M4-P

Leica M4-P

Matthew Osborne Photography / Mr Leica
December 2016

12 months on since my last Leica camera purchase, the Leica M6 Classic, I found myself buying another Leica M film camera.  It was completely unplanned (as usual) and I happened to have a free hour researching cameras online.  I stumbled across to me what seemed a real bargain.  The often less regarded Leica M4-P.

Intro

The Leica M4-P is a 35mm rangefinder camera like all other analogue Leica M film cameras.  I bought a black chrome M4-P and it has a 0.72x viewfinder the same as my Leica M6.  The Leica M4-P was in production from 1980 until around 1986 and was based on the earlier Leica M4 camera and followed the Leica M4-2. leitz-m4-p-black2

Leica M4, Leica M4-2, Leica M4-P

To take a step back, the Leica M4 was released in 1966 and saw Leica introduce a few new camera features including; a film rewind crank to replace the vertical rewind knob of the M2 and M3 (will make rewinding film so much faster!), a new angled film advance lever and faster film loading by removing the need for the separate take up spool (as used in the Leica M2 and M3).

The Leica M4-2 was released in 1977 and was similar to a Leica M4 but with a hotshoe rather than a cold shoe (The Leica M2 and M3 also have cold shoes).  The later Leica M4-P variant was similar to the Leica M4-2 but also had 28mm and 75mm framelines added so it could be used with the newer Leica M lenses. Frameline pairs are 28/90, 35/135, 50/75 meaning you always see two framelines in the viewfinder.

As a Leica photographer and a strobist and someone using a Leica Elmarit-M 28mm f2.8 ASPH lens and Leica Summicron 75mm f2 APO lens three words above have already sold the camera to me – “hotshoe”, “28mm framelines” “75mm framelines”. (OK it was 5 words sorry!)  More details below.

Leica M4-P is regarded as not the best Leica M camera

  • The M4-P saw the start of Leica using precision parts as part of a cost reduction program and it is said the M4 and later Ms are not as smooth as the earlier Leica M3 and Leica M2
  • The Leica M4-P has zinc top and base plates not the traditional brass plates
  • The Leica M4-P was built in Midland, Canada not Germany to save cost (with an exception to those cameras made in the last year of production when production was moved back to Wetzlar, Germany in 1986 before being replaced by the Leica M6)
  • The Leica M4-P has no lightmeter but is otherwise similar to a Leica M6 so why not just buy a M6
  • The Leica M4-P has a “cluttered” viewfinder with too many framelines (vs. the older Leica M3 and M2) but is the same viewfinder as the Leica M6
  • The Leica M4-P is said to suffer from flaring in the viewfinder (the same as the Leica M6)(I don’t remember experiencing many issues with my M6)
  • The Leica M4-P Leica red dot is positioned on the front right side of the camera rather than front centre to hide the adjustment screw

So why do I need another Leica!?

I guess I don’t really need another camera but I managed to construct a good argument for the purchase!  Here is a summary of the Leica M4-P vs. my other Leica M cameras.

Leica M4-P vs. Leica M3

The Leica M3 viewfinder does not have 28mm or 35mm framelines and does not have a hotshoe so I can’t use the M3 with flash triggers and off camera flash.  The M3 also has the slower to use film take up spool and rewind knob which are not ideal if working fast at a Leica wedding or on location with a model / client.

The Leica M3 is arguably better built and smoother to operate than the Leica M4-P.  The Leica M3 has THE best rangfinder viewfinder,  I think, if using 50mm lenses.

Both my Leica M3 single stroke and Leica M3 double stroke cameras currently need recalibrating to be able to use accurately with fast lenses like the Leica Noctilux 50mm f1.

Leica M4-P vs. Leica M2

The Leica M2 viewfinder does not have 28mm framelines for accurate framing with the Leica Elmarit-M 28mm ASPH. (I have just used the entire M2 viewfinder field of view as 28mm to guesstimate to date).  The M2 like the M3 does not have a hotshoe so I can’t use it with flash triggers and off camera flash.  The M2 like the M3 also has the slower to use film take up spool and rewind knob which are not ideal if working quickly.

The Leica M2 is arguably better built and smoother to operate than the Leica M4-P.

Leica M4-P vs. Leica M6

The Leica M4-P is basically the same as my Leica M6 Classic, just without a built-in light meter.  The same viewfinder/ framelines, same zinc top plate and base plate, the same film rewind knob and film loading .

My Leica M6 currently jams at around 25 exposures so I bulk load my own film so not to waste the last 10 or so shots on a standard 36 exposure roll of film.  It can be repaired but other than that the M6 is a great camera and I use the M6 perhaps the most of my analogue film M cameras because of the hotshoe.  The faster to operate film rewind crank is also a great help.

Leica M4-P vs. Leica M8 / Leica M9 / Leica M240

For completeness, the Leica M4-P is better than my Leica M8, Leica M240 and the Leica M9 I replaced as the M4-P is analogue! I probably don’t need to say any more other than to use the hashtags #believeinfilm, #filmisthefuture ! 🙂

Summary

So to conclude, when I saw a used Leica M4-P camera (on sale at a reputable online store in the UK) at almost half the price of my Leica M6 Classic and half the price of my new Leica Elmarit-M 28mm f2.8 ASPH lens (*Blog post to follow) and that I can use with flash and hopefully shoot an entire 36 exposure roll of film in I jumped at the chance!

I buy Leica cameras to use rather than to polish so to get a slightly more used Leica camera at a discounted price is far better for me than a mint boxed camera at full price.  I am also not a Leica puriest as for one I use flash photography a lot but also I don’t mind too much where a camera was made or if the top plate is made of zinc or brass.

Leica M4-P, welcome to family! 🙂

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Leica M8 – 10th Anniversary!

Leica M8 – 10th Anniversary & A Decade Long Love Affair

Matthew Osborne Photography / Mr Leica

October 2016

Leica M8 + Voigtlander 40mm

Leica M8

You may have already seen it on Steve Huff’s blog today but below is a post to celebrate the 10th anniversary of the Leica M8 – the first digital Leica M camera!

Leica M8 + Voigtlander Nokton 40mm

 

Co-written by Elie Bescont, Prosophos, Johannes Huwe, Olivier Morgand and I, we try to explain why the Leica M8 is still going strong 10 years on –

 

The Leica M8 and it’s 10th Anniversary. A decade long Love affair

 

More Leica M8 images

Leica M8 Portraits
Leica M8 Fashion
Leica M8 + Noctilux
Leica M8 + Voigtlander 35 1.2
Zeiss ZM Planar
Little Princess
Leica M8 + Lux 50
Leica M8 B&W
Leica M 240 vs Leica M9
Leica M8 + Lux ASPH 50
Leica M8 B&W Portrait
Leica M8 Sharpness!!
Leica M8 B&W Portrait
Leica Summicron 50

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