Hi-end classic SLR with a 40. Nearly unlimited budget. What are my options?

Hi-end classic SLR with a 40. Pretty much unlimited budget. What are my options?

Hi-end classic SLR with a 40. Pretty much unlimited budget. What are my options?

Word of warning with the FM3A: the film advance lever will poke into your forehead every time you want to compose a vertical frame due to the design of the lever having to be out in order for the shutter to unlock. For that alone I found the ergonomics of this camera totally unworkable. Combined with Nikon backwards focusing, well, something to consider beyond a specs sheet.
 
PunkFunkDunk said:
Word of warning with the FM3A: the film advance lever will poke into your forehead every time you want to compose a vertical frame due to the design of the lever having to be out in order for the shutter to unlock. For that alone I found the ergonomics of this camera totally unworkable...
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I had this exact problem with an FM2n. It bothered me quite a lot actually. Only way to really get around it was flip vertical orientation which I never quite got used to. I'm surprised more people don't find it an issue honestly.
 
gavinlg said:
I had this exact problem with an FM2n. It bothered me quite a lot actually. Only way to really get around it was flip vertical orientation which I never quite got used to. I'm surprised more people don't find it an issue honestly.
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It is because we do not have proper technique. I too shoot vertical this way... but really the proper way is the opposite way so your elbows are close to your body for stabilization.
 
Never found it an issue at all - similarly the Nikon wrong way round, given I regularly switch between Leicas and Nikons. The lever when out fits neatly into the space below my eye socket.
 
Hmm, that F3 looks tasty....
one thing not mentioned about Nikon
pro bodies only: you get 100% of pic view
used to be a big deal
 
gavinlg said:
I had this exact problem with an FM2n. It bothered me quite a lot actually. Only way to really get around it was flip vertical orientation which I never quite got used to. I'm surprised more people don't find it an issue honestly.
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I use the MD12 motordrive. You do not need to pull out the film winder with that.
 
jsrockit said:
It is because we do not have proper technique. I too shoot vertical this way... but really the proper way is the opposite way so your elbows are close to your body for stabilization.
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Totally OT, but I’ve never understood why elbow-down isn’t the standard way to shoot portrait orientation, it’s heaps more stable and doesn’t have any ergonomic downsides that I can think of...
 
I think it's because the over-hand vertical grip is faster to change to and back when working fast. I recall back when I first got into photography I experimented with both styles of vertical hold, and three factors caused me to settle on the elbow-down method: Less conspicuous for one, the elbows-in is steadier, and finally I'm left-eyed and it's just easier to see!
 
I'm a left eye-guy as well. I have a broken SLR here at home, tried to flip the winder out and try to lean it to my face, indeed it is somewhat weird.

I made a decision by the way. I've decided that I will first try to score the lens, and then choose body accordingly. If I manage to find a Skopagon for a decent price, I will go with the FM3a, use a DKL to Nikon adapter and call it a day. If I manage to find the Zuiko 40/2 for a decent price I will go with the OM4 Ti.

I imagine any of the two bodies will be a decent 'take your mind off it' shooters in auto mode, with portra 400 and exposure comp switch set to +1.5 at all times.

I also reckon they both will provide enough control for the situation where a scene is more static and you want to nail the exposure. FM3A would probably feel more 'native' to me after digital cameras and the Ae-lock on half press of shutter release. I am quite used to center-weighted metering now that I think about it, and always use the AE-lock and re-compose, metering for the shadows.

I feel like OM4 would be more fiddly in this regard, because you have to add a couple of spots to the matrix to get a correct exposure for the scene, but maybe when shooting people it will be enough to just measure on the face? Not sure what it's going to be like in use, but I love the concept of the camera, the size, the looks, and I've read that it's viewfinder is much bigger and brighter then FM3A.
 
giganova said:
Yes, look what Sebastião Salgado used. And no, I won't mention the R6 anymore since I seem to be the only one who loves that camera (and R lenses). ;)
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I absolutely love those R lenses but whoever designed that air driven shutter mechanism in the R3-7 cameras should be found and punished. That thing is one of the worst features ever put into a pro SLR.

Leica wisely put an incredibly excellent, responsive, short travel, sensutive shutter release in the R8 and 9.

A Leicaflex SL or SL2 or Leica R8 or R9 and a 28/2.8 Elmarit e55, 35 Summilux, 50 Summilux e60, 80mm Summilux and a macro or APO long glass if you need it, is and incredibly capable film kit and the lenses produce really beautiful images.

But those in-between bodies are, for me, just an invitation to frustration.

Marty
 
svinao said:
...I feel like OM4 would be more fiddly in this regard, because you have to add a couple of spots to the matrix to get a correct exposure for the scene, but maybe when shooting people it will be enough to just measure on the face? Not sure what it's going to be like in use, but I love the concept of the camera, the size, the looks, and I've read that it's viewfinder is much bigger and brighter then FM3A.
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The OM-4 system is nothing more than "A" priority with the advantage that you can balance the exposure needed automatically as you would with any camera without having to remember reading as the scene is examined.

With the Leica M6 for instance I am getting a reading for faces, remembering, then a reading for the background and then pondering and setting things manually. With the OM-4 I take two readings from the face and one from the background and it will set the exposure for me. Easy isn't the word for it as you just point at the important subject and push a button to store it. Stop pushing the little button and you have it all ready to take.

Other options like "hilight" would make the camera very similar to a digitar.


Regards, David
 
Freakscene said:
I absolutely love those R lenses but whoever designed that air driven shutter mechanism in the R3-7 cameras should be found and punished. That thing is one of the worst features ever put into a pro SLR.

Leica wisely put an incredibly excellent, responsive, short travel, sensutive shutter release in the R8 and 9.

A Leicaflex SL or SL2 or Leica R8 or R9 and a 28/2.8 Elmarit e55, 35 Summilux, 50 Summilux e60, 80mm Summilux and a macro or APO long glass if you need it, is and incredibly capable film kit and the lenses produce really beautiful images.

But those in-between bodies are, for me, just an invitation to frustration.

Marty
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Amen - Now I have the SL2 and the R8 I do not use the R4S I started with, or the R7 I bought. The lenses are exquisite (yet to buy a 28mm Elmarit or sell enough body parts for a 35 Summilux) but I adore them. Those shutters though, meh.
 
The marketed variability of designs indicates a corresponding multipliicity of preferences. If the original poster is still contemplating choices, I will add some crumbs ffrom my experiences: OM4 developed an unhealthy appetite for batteries. The importers claimed that it was fixed, but I gave up. In the viewfinder department, leicas late R varieties R8&R9 are very bright and accurate but your choice of optics will be "limited" by the proprietary bayonet and the long mount to film distance, except that the small amount of native lenses are quite good.


p.
 
I have found an OM4 Ti today with a 50 1.8 for 175 USD. Messaged the seller but it was already gone. Made me realize I really want an OM4 Ti, so fm3a is out of the picture.

Thanks everyone for helping me out with this!
 
I have the 40mm Voigtlander Ultron f2.0 (v3 with scalloped metal focusing ring) that I use with my Nikons (including F2AS, F6, FM3a and FE2 along with d850 and d750). I also have a 40mm Zuiko f2.0 that I use with my Olympus OM cameras.

Both are excellent lenses, well built and with wonderful image quality. The Voigtlander has the edge in build quality (although the Zuiko is well built too), but the Zuiko has a bit more character and has a more pleasing rendering that is really well matched for B&W film. The Zuiko does have some handling quirks as the aperture ring is the nose of the lens barrel itself. To handle this, I simply attached a third-party metal lens hood and got a suitably sized rubber O-ring that covers the area where the nose of the lens meets the lens hood. I can then turn the lens hood to adjust the aperture.

The Voigtlander is more versatile, as it has electrical contacts that make it easy to use on Nikon DSLRs as well as electronic SLRs like the F6 and older SLRs like the F2AS perfectly well. The Voigtlander's build quality is one of the very best that I have encountered in any lens and I have owned and/or handled over 60 lens models over the years.
 
BTW, between the Olympus OM-4 or OM-4Ti, on the one hand, and the Nikon FM3a, I prefer the OM because it has a much larger and better viewfinder, better ergonomics (with the attachable screw-in small hand grip and shutter speed ring around the lens mount to allow focus and exposure adjustments with one hand while keeping finger on shutter release) and spot metering. The FM3a has the faster shutter speed (1/4000 vs 1/2000) and a faster regular flash sync speed (1/250 vs 1/60). However, with the F280 flash, the OM-4Ti syncs at up to 1/2000 (albeit with less range the faster the shutter speed). However, for fill flash outdoors, it works very well. The OM-4Ti also has a better feeling shutter release and better sounding shutter than the tinny sounding FM3a shutter. Don't like the FM3a (or FE2) means of turning on shutter release by pulling out film advance lever (without motor drive) as the lever gets in the way of left-eyed shooters like myself.

The OM-4Ti, with either the Motor Drive 1 or 2, is much faster (5 fps) and quieter than the FM3a with MD-12 motor drive (3 fps).

The FM3a hybrid shutter is nice if your battery dies or in very cold weather, but I have never needed this. I also have a FE2 and use a separate Nikon cold battery pack to avoid any problems in sub-freezing weather. I also have used a fresh 1/3 N lithium battery in the Nikon FM3a, FE2 and OM-4Ti in very cold weather without problems. The FM3a and FE2 can use them regularly. The OM-4Ti is specced to use silver oxide cells, but I have gotten away with using the lithium cell in a pinch in subfreezing weather, with exposures being within 1/3 stop of silver oxide when lithium battery is new. Wouldn't use it regularly in the OM-4Ti given the discharge characteristics might cause the exposure to go off as the cell discharges.
 
So you want to be the ultimate ultra mod camera hipster...

Forget the fancy brands, everyone and the mutt has them. Get a Nikkormat FT2, ideally a black model (very few were made, but they exist) in the best condition you can find OR buy a good one and have it restored. The Ultron f/2 is the ideal lens for this kit, surpassed only by the then new Nikkor 50mm f/2, the more rounded later version.

Add an original Nikkor Y2 yellow filter and lens hood, and boom! as they say in these parts of the Antipodes, Bob's your uncle.

Of course you'll shoot only Tri-X at ISO 250 and soup it in D76 1:1 for those luminous swirls.

I have four FT2s, so I know. In this digital age they don't see all that much use nowadays, but when I do take them out for an airing on the street, the beauteous bimbs fall over themselves in front of you (I wish), which at my advanced age is nothing short of miraculous.

So yes, with this kit, not only with your image be divine, you'll also get lovely images out of everything you shoot. What could be better??
 
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