LeicaVirgin1
Established
Dear Tom-
Thank you in advance for reading this post.
I love my M2, but I notice that on your M2's you generally have rewind levers attached to the rewind knobs of your cameras, (most of them). May I ask; which ones do you use and where can I purchase them on your site? per your instruction(s), I went to your site, but had problems navigating, (I am on a MAC, not PC/IBM).
Secondly, about a month ago I posted a thread regarding UVO filters on Leica Lenses, or for that matter any quality lens. I wanted to know if you used them on your lenses ALL the time for protection purposes? Or not use them at all, or just selectively? I use other filters for my "M" lenses such as REDS, ORANGE, and YELLOW for my B&W work, but of course that is "selectively" as written above. Just want your opinion on this one please.
Third, what makes LEITZ/LEICA GLASS so special? I mean, I have a few "M" bodies as mentioned from my previous post & I have focal lengths from 35mm to 135mm with MANY 50mm's in between those other focal lengths. They are ALL either LEITZ, or LEICA lenses. I have NIKON & CANON LENSES, (ALL REFLEX, THOUGH), and even though I am building my darkroom, as we speak, I generally take my exposed film, (B&W), to a local processor and have them process only and scan to a CD at a HIGH JPEG FORMAT & then just select and print digitally on an EPSON 4880 DIGITAL PRINTER FROM THE CD. I really can't tell the difference between the LEITZ/LEICA GLASS & THE NIKKOR/NIKKOR "ED" & CANON EF & CANON "L" GLASS. Will this change when I set up my darkroom?
My darkroom enlarger is the LEITZ/LEICA V35AF WITH 40MM LEITZ/LEICA ENLARGING LENS @ F2.8 THAT WAS MADE FOR THAT ENLARGER. My other lens for the enlarging head is a 50MM RODENSTOCK APO-RODAGON-"N"/F2.8.
I use either TRI-X, DELTA-400 PLUS-X, OR PAN-F FOR MY NEGATIVE EMULSIONS. I know you use XX KODAK MOTION PIC. FILM FOR YOUR STOCK. Where do I purchase XX from?
In addition, (yes, a long thread; my apologies), I have a 35mm LEICA f1.4 "SUMMILUX"-ASPH. Yet, I hate that BIG SQUARE HOOD THEY PROVIDE WITH THAT LENS; IT SUCKS! I feel it blocks too much of the VF FRAME LINES/WINDOW. Do you know where I can get a hood that WILL NOT VIGNETTE into the "FULL-FRAME" 35MM Image without blocking the VF/RF window? You know like the round ones for the 50mm Summilux's and Summicron's from days gone bye?
Lastly, can I use your RAPIDWINDER ON MY M2, M3, M4 & M6'S, (THE M6'S ARE OF THE "CLASSIC" DESIGNATION). Are the RAPIDWINDERS interchangeable from one "M" camera to another, or do you have to have different ones for different "M" cameras? Also, how do I purchase one from you? Do you still sale them. I live in the U.S. in HOT SoCal, USA.
Thank you!
Best,
DMB
Thank you in advance for reading this post.
I love my M2, but I notice that on your M2's you generally have rewind levers attached to the rewind knobs of your cameras, (most of them). May I ask; which ones do you use and where can I purchase them on your site? per your instruction(s), I went to your site, but had problems navigating, (I am on a MAC, not PC/IBM).
Secondly, about a month ago I posted a thread regarding UVO filters on Leica Lenses, or for that matter any quality lens. I wanted to know if you used them on your lenses ALL the time for protection purposes? Or not use them at all, or just selectively? I use other filters for my "M" lenses such as REDS, ORANGE, and YELLOW for my B&W work, but of course that is "selectively" as written above. Just want your opinion on this one please.
Third, what makes LEITZ/LEICA GLASS so special? I mean, I have a few "M" bodies as mentioned from my previous post & I have focal lengths from 35mm to 135mm with MANY 50mm's in between those other focal lengths. They are ALL either LEITZ, or LEICA lenses. I have NIKON & CANON LENSES, (ALL REFLEX, THOUGH), and even though I am building my darkroom, as we speak, I generally take my exposed film, (B&W), to a local processor and have them process only and scan to a CD at a HIGH JPEG FORMAT & then just select and print digitally on an EPSON 4880 DIGITAL PRINTER FROM THE CD. I really can't tell the difference between the LEITZ/LEICA GLASS & THE NIKKOR/NIKKOR "ED" & CANON EF & CANON "L" GLASS. Will this change when I set up my darkroom?
My darkroom enlarger is the LEITZ/LEICA V35AF WITH 40MM LEITZ/LEICA ENLARGING LENS @ F2.8 THAT WAS MADE FOR THAT ENLARGER. My other lens for the enlarging head is a 50MM RODENSTOCK APO-RODAGON-"N"/F2.8.
I use either TRI-X, DELTA-400 PLUS-X, OR PAN-F FOR MY NEGATIVE EMULSIONS. I know you use XX KODAK MOTION PIC. FILM FOR YOUR STOCK. Where do I purchase XX from?
In addition, (yes, a long thread; my apologies), I have a 35mm LEICA f1.4 "SUMMILUX"-ASPH. Yet, I hate that BIG SQUARE HOOD THEY PROVIDE WITH THAT LENS; IT SUCKS! I feel it blocks too much of the VF FRAME LINES/WINDOW. Do you know where I can get a hood that WILL NOT VIGNETTE into the "FULL-FRAME" 35MM Image without blocking the VF/RF window? You know like the round ones for the 50mm Summilux's and Summicron's from days gone bye?
Lastly, can I use your RAPIDWINDER ON MY M2, M3, M4 & M6'S, (THE M6'S ARE OF THE "CLASSIC" DESIGNATION). Are the RAPIDWINDERS interchangeable from one "M" camera to another, or do you have to have different ones for different "M" cameras? Also, how do I purchase one from you? Do you still sale them. I live in the U.S. in HOT SoCal, USA.
Thank you!
Best,
DMB
Rob-F
Likes Leicas
I'll just offer a brief answer here, regarding the rapidwinder part of your question. Tom does have a rapidwinder for the M2, which does require a different model than the later cameras such as the M6. He is running low on supplies for the M2 Rapidwinder, and lately has been asking that those who want one get their orders in. In case you should want to do that (or just check out the website) I believe they can be ordered at rapidwinder.com
I'm sure Tom will reply in greater detail when he's able.
I'm sure Tom will reply in greater detail when he's able.
Tom A
RFF Sponsor
The little rewind knobs are a mixed bag, a couple are TMP ones. some are made by a friend of mine in Chicago (difromage@ ameritceh.com) - he still might have some left. I have also bought some in Japan.
As for filters, I never use UV filters, but do use yellow,orange,red ones occasionally - but i have to admit that often I forget to bring them along. The UV filters are OK, but a good hood offers better protection of a front element any day. I dont think they "corrupt" the image in a significant way - but occasionally you can get ghosting reflections from them.
As for the hood of the 35f1.4 Asph. It is big and clunky, but I am not aware of a smaller and effective replacement for it. I dont have the 35f1.4 asph anymore. never got along with it!
As for the "special" Leica glass. Part of this is a hype, created over a long period of time when Leica was the only game in town. In 1998 Konica released the Hexar and an excellent series of lenses and in 1999 Cosina Voigtlander launched the amazing series of lenses that we actually could afford. Zeiss is a bit of a late comer but considering that between them CV and Zeiss covers from 12mm to 85 mm in various speeds - Leica ended up falling by the wayside. They are catching up though, their lates 21f1.4/24f1.4/24f3.8/50f0.95 and the 18f3.8 are what Leica does best - expensive, cutting edge optics - but the competition is tough. In most cases you will not see a difference between a CV, a Zeiss or a Leica lens. They are all very good and the difference is more to the users taste, smooth tones of a Zeiss ZM lens, biting edge sharpness of the top of the line Leica lenses, traditional look in some of the Cosina glass - it gives us a lot of choice!
Leica has been around for a long time and deserves a lot of credit for innovations and designs, but Zeiss has been around for even longer. So they derailed from 35mm cameras for a while, but they are back!
I mix and match. I have favorite Leica lenses, some are 'sentimental favorites, some are performance favorites - but my M glass is by no means exclusively Leica, there is CV lenses that get a lot of use and there are Zeiss lenses and Canon lenses. I like diverse glass and I can pick a lens for a certain film of shooting style - and I like that. A lens has to prove too me that it works for my style or way of shooting - and the incredible selection we have today would not have been here without Cosina Voigtlander and to some extent Konica. Leica barely survived this onslaught of new and innovative as well as affordable glass (the latter has always been a typical Leica problem!).
Your darkroom will change how you see "pictures". Modern inkjet printing has come a long way - but it is not a substitute for a "wet" darkroom. Not as tactile, not the same depth. It can never give the same satisfaction as standing over a tray and watch a print appear in the developer. With Photo Shop or Light Room we can correct a lot of our screw ups - in the darkroom it is not as easy and that forces you to REALLY look at the print, the negative - and that will probably make you a better photographer too. I dont print that often, but when i do is a bit of a zen like experience, no emails, no phone - just me and a negative trying to accomodate each other!! You will enjoy it.
For the Double X/EK 5222: check with Kodak Cinema & Televison Ph: 212 631 6400 or 1 800 631 Film. You need to specify that you want to have EK 5222 (EK stands for Eastman Kodak). Smallest can is 400ft (approx. 70 rolls).
As stated, there are two M type Rapidwinders, one is dedicated for the M2 (and M1/MDa) and the M6 version which works with the M4-2/M4-P/M6/M7 and MP. Just e-mail me at Rapidwinder.com and Tuulikki, my wife will tell you all you need to know. She is the boss (well, almost, MR B the cat rules the roost, but he will allow business to be done as to ensure a steady food supply).
Boy that was long. Hope it answered most of your questions though. If not, get back to me.
Tom
As for filters, I never use UV filters, but do use yellow,orange,red ones occasionally - but i have to admit that often I forget to bring them along. The UV filters are OK, but a good hood offers better protection of a front element any day. I dont think they "corrupt" the image in a significant way - but occasionally you can get ghosting reflections from them.
As for the hood of the 35f1.4 Asph. It is big and clunky, but I am not aware of a smaller and effective replacement for it. I dont have the 35f1.4 asph anymore. never got along with it!
As for the "special" Leica glass. Part of this is a hype, created over a long period of time when Leica was the only game in town. In 1998 Konica released the Hexar and an excellent series of lenses and in 1999 Cosina Voigtlander launched the amazing series of lenses that we actually could afford. Zeiss is a bit of a late comer but considering that between them CV and Zeiss covers from 12mm to 85 mm in various speeds - Leica ended up falling by the wayside. They are catching up though, their lates 21f1.4/24f1.4/24f3.8/50f0.95 and the 18f3.8 are what Leica does best - expensive, cutting edge optics - but the competition is tough. In most cases you will not see a difference between a CV, a Zeiss or a Leica lens. They are all very good and the difference is more to the users taste, smooth tones of a Zeiss ZM lens, biting edge sharpness of the top of the line Leica lenses, traditional look in some of the Cosina glass - it gives us a lot of choice!
Leica has been around for a long time and deserves a lot of credit for innovations and designs, but Zeiss has been around for even longer. So they derailed from 35mm cameras for a while, but they are back!
I mix and match. I have favorite Leica lenses, some are 'sentimental favorites, some are performance favorites - but my M glass is by no means exclusively Leica, there is CV lenses that get a lot of use and there are Zeiss lenses and Canon lenses. I like diverse glass and I can pick a lens for a certain film of shooting style - and I like that. A lens has to prove too me that it works for my style or way of shooting - and the incredible selection we have today would not have been here without Cosina Voigtlander and to some extent Konica. Leica barely survived this onslaught of new and innovative as well as affordable glass (the latter has always been a typical Leica problem!).
Your darkroom will change how you see "pictures". Modern inkjet printing has come a long way - but it is not a substitute for a "wet" darkroom. Not as tactile, not the same depth. It can never give the same satisfaction as standing over a tray and watch a print appear in the developer. With Photo Shop or Light Room we can correct a lot of our screw ups - in the darkroom it is not as easy and that forces you to REALLY look at the print, the negative - and that will probably make you a better photographer too. I dont print that often, but when i do is a bit of a zen like experience, no emails, no phone - just me and a negative trying to accomodate each other!! You will enjoy it.
For the Double X/EK 5222: check with Kodak Cinema & Televison Ph: 212 631 6400 or 1 800 631 Film. You need to specify that you want to have EK 5222 (EK stands for Eastman Kodak). Smallest can is 400ft (approx. 70 rolls).
As stated, there are two M type Rapidwinders, one is dedicated for the M2 (and M1/MDa) and the M6 version which works with the M4-2/M4-P/M6/M7 and MP. Just e-mail me at Rapidwinder.com and Tuulikki, my wife will tell you all you need to know. She is the boss (well, almost, MR B the cat rules the roost, but he will allow business to be done as to ensure a steady food supply).
Boy that was long. Hope it answered most of your questions though. If not, get back to me.
Tom
LeicaVirgin1
Established
Thank you Tom...
Thank you Tom...
Dear Sir-
Thank you for such a well and informative answers to my questions. It was most helpful. Funny thing, is that I am a cinematographer and have used XX many times in 16MM, & 35MM for indy features. I have a bulk loader and some empty leica cassettes/spools. I will do as you advise in regards to filters and my darkroom "wet" printing. I just now need to retrofit my master bathroom.
Also, M2 rules.
Thank you again,
LV1
Thank you Tom...
Dear Sir-
Thank you for such a well and informative answers to my questions. It was most helpful. Funny thing, is that I am a cinematographer and have used XX many times in 16MM, & 35MM for indy features. I have a bulk loader and some empty leica cassettes/spools. I will do as you advise in regards to filters and my darkroom "wet" printing. I just now need to retrofit my master bathroom.
Also, M2 rules.
Thank you again,
LV1
Tom A
RFF Sponsor
As a cinematographer you will appreciate my use of D96 as a soup for the XX. I keep changing developers - just for fun and at the moment I am back with D96. I run XX at 6.5-7 min and XXX for 7-7.5 minutes in it.
bobwith2bees
Member
TomA:
sorry for slight topic change: *********************
could I get YOUR forumla for D-96 and preferred order of "mixing"
also, is it used ONE shot, or reused as per old divided D-76 which I have used before. I presume this is a ONE step developer
Oh, BTW, that soft release works great !! only downside, it makes you shoot more film. I haven't had time to process yet so can't post any pictures from the last camera meeting.
bob
sorry for slight topic change: *********************
could I get YOUR forumla for D-96 and preferred order of "mixing"
also, is it used ONE shot, or reused as per old divided D-76 which I have used before. I presume this is a ONE step developer
Oh, BTW, that soft release works great !! only downside, it makes you shoot more film. I haven't had time to process yet so can't post any pictures from the last camera meeting.
bob