The Nikon Z7 is undoubtedly a quantum leap in Nikon’s camera evolution, essentially putting the best features of the Dxx series into a mirrorless body. Yet there is the inevitable complaint: “No dual card slot? Only one? No pro camera is like that!”
Pardon me, but plenty of pro cameras have been like that – and not just pro digital cameras in some benighted past (n.b., an era ending maybe 4 years ago). Consider the D2x and D700. Anyone want to call those “not pro” cameras? How about the flagships of the EOS fleet for a stretch?
In an era where film ruled the waves, it’s not like you could put two films into the same camera simultaneously for “backup.” And back then, pictures were scarcer and more valuable, and your chances of losing a shot due to a light leak, film defect, or development failure were astronomically high compared to anything that could befall a digital outfit.
So let’s move to digital. What is the measured malfunction rate of properly kept, brand-named CF, SD, or XQD cards? Hint: it’s astronomically low compared to the failure rate of the cameras that use them (SanDisk posts an MTBF of 1 million hours, or 114 years). Here are things that are far more likely to happen:
- Dying (which is all but guaranteed within the MTBF cited)
- Being killed in a car crash
- Being hit by lightning
- Finding a lost cousin on some genealogy site
- Winning Powerball
The threat of a bad flash card bringing down the system is simply not a real thing for most people. Dropping a camera, having a battery burn out, or suffering some physical mishap is far more likely. Even being in a car accident is more likely. And for that matter, why wouldn’t “any responsible pro” bring an extra car? An extra photographer?
I suspect that many of the people complaining about this issue — if not simply fronting to front — are semi-pros who scraped up every last dime to buy one really good camera to shoot wedding pictures. Fair enough. Maybe they had a bad experience with a counterfeit card once. Abused a good one. Ran one into the ground. It’s also possible to screw up the file system of a card by failing to respect buffers that are still clearing or repeatedly using without ever doing an in-camera format.
But this group is not positioned to speak for all pros (i.e., make the statement that “no pro would…”). Real pros in every field use redundancy – and it’s not limited to using two cards in the same camera (which does nothing if your camera is the single point of failure). Redundancy could include:
- Using smaller cards to reduce the “all eggs in one basket” effect. 32Gb is fine. Smaller media is one of the reasons that film was safe; 36 frames on a roll of film is small.
- Rotating between cards over the course of the shoot (the nice thing about EXIF is that Lightroom can combine shots from multiple cards into exactly the right order).
- Using two cameras and two cards, which means you will never be high and dry.
- Beaming your images in real time using wireless (a Toshiba Flashair is great for this, though there is no XQD version yet).
- Downloading one card to your laptop while shooting a second card.
When you consider the other options, thinking that two cards in a camera would get you off the hook seems a little odd, does it not?
Maybe the whole “multiple card slot” thing is a product of general societal economic insecurity. Or a “mine is bigger than yours” mindset. But any way you slice it, it doesn’t seem to make a lot of sense for most people.
As you contemplate modern lenses, It is difficult to associate these optics with the proud civilizations that created them: Tokyo, Rochester, Sendai, Jena. They worshipped image quality, because it is strength that makes all other values possible. No picture survives without it. Who knows what delicate objective lenses have died out of the world, for want of the strength to continue.
It’s a long way from the Canon 7sz to Andre Agassi, from the Serenar to the EOS Kiss Merkur XR4ti (…or whatever the amateur model of the week is). Canon used to be a hard-core producer of Leica knockoffs, many of which were more functional, convenient, and reliable than the rickety prewar designs that Leica kept elaborating. The Canon P was a standout, as were the VI-L and the 7 series.
The Canon 50mm f/1.2 (September 1956… can you believe that it is now almost 60 years old?) was the company’s penultimate halo lens. It came out with the VT (not Deluxe), and it would not be surpassed until 1961 with the Canon 7 and its 50/0.95 Dream Lens (from a size, weight, and cost standpoint, dream is clearly defined broadly to include nightmare). Ironically, the 50/1.2 cost more than the 50/0.95. Modern Canon lenses are quite good, but they don’t have that certain fun factor to them.
Synergies. This is a new thesis on my part, but I am starting to suspect that the M typ 240 and 246 tend to interact with lenses in ways that might not be immediately intuitive. Some lenses seem to work unexpectedly well with the color sensor (possibly the demosaic-ing algorithm accidentally boosting sharpness). Many lenses work better than expected with the Monochrom camera — likely because the color-bind sensor is not bothered as much by chromatic aberration. The “why” these things happen is probably insoluble; it is merely interesting that they do. And yes, some dog lenses do stay dogs, and some lenses have bad corners to f/8. Nulla regula sine exceptione.
Look and feel. Perhaps “Carré Otis” is the best way to express the relationship between the size of this lens and Canon’s more common 50mm lenses (2.8, 2.2, 1.9, 1.8, 1.5): generously proportioned, slightly flaky, and exhibiting certain, ahem, virtues.
The finish of the 50/1.2 is typical mid-to-late Canon that came into vogue in February 1956 with the 50mm f/1.8 mark II: a black enamel focusing ring and sandblasted chrome aperture ring and distance/DOF scale. This is much more pleasing than Canon’s contemporaneous all-black lenses (like the 35/1.5, 35/2, 100/3.5, 100/2, and 135/3.5), whose finish looks good in smaller lenses and feels chintzy in larger ones. But the affect with the 50/1.2 is solid. It will keep your M typ 240 on balance.
The focusing effort is heavy, and even the aperture turning is heavy. Unless, of course, lubricant has leaked out onto the aperture blades. The focusing pitch is very slow. Even the interesting push-button infinity lever takes a deliberate effort to dislodge. Is there a problem with any of this? No. Will you have issues tracking fast motion or switching from near-to-far subjects (or vice-versa) as if you were a D700? Yes.
Flare and use with filters. The first thing you have to remember with this lens is that you are dealing with an SLR-sized front element that sits very close to the front of the filter ring, seven elements, and single lens coatings from the mid-1950s. This isn’t going to flare, right?! Really, cleaning marks are the least of your problems here.
The big (physical) hazard with this lens is filters – as in don’t tighten down a filter without checking the clearance between the filter and the front lens element. If you want use conventional filters, you will likely need to use an empty ring as a spacer or fit a rubber o-ring around the threads on the filter. The only alternative is to use Canon RF filters, which are expensive and present a flush glass surface on the front of the lens. Not only does cabin your choices for lens hoods, it also presents ample opportunity for sidelight flare. Like the picture below (and let’s be fair – this is shot outdoors with floodlights everywhere). But be sure to use some kind of hood if you can.
Canon filter ghosting (at f/1.2). All hell is breaking loose here (not surprising with Christmas lights a scant two feet from the lens), but it’s not all bad, given the motif:
On balance, it is better to use a filter if you don’t want to deal with the rickety Canon metal lens caps, which never want to stay on. Just watch how you use it, and if you can space it correctly, consider an MRC.
General optical performance. On an M, at 24mp, the 50/1.2 really acts like Beauty and the Beast. At its largest aperture, it has microscopic depth of field, though with practice, you can tell where it is going to land. It does what most other super-fast spherical lenses do: it front focuses at wider apertures and settles down at middle ones. Every one of the three copies I have owned seems to have had slight differences in the midpoint of depth of field at close ranges and large apertures, which is not surprising. But this is par for the course; all fast 50mm lenses are testy on Leica rangefinders. As you start stopping down, the 50/1.2 becomes exponentially sharper. F/1.4 is light years better than 1.2; f/2.8 is orders of magnitude better yet.
Rather than dragging through every optical trait one at a time, let’s take it at f/1.2. Soft contrast, heavy vignetting, reasonable resolution of details, with a field that seems to curve at the edges toward the camera. This vignetting persists, even when the lens is coded as a Leica Noctilux. To be fair, this was more than enough for most 35mm film use. A lens like the Canon 50/1.2 would be used at night, where contrast would be high. It was not designed for thin depth-of-field fetishism. You can click on the picture below for a full-sized image.
The picture at the top of this article is also shot at f/1.2. In terms of controlling bokeh, if you are into that thing, this is yet another lens where your best bokeh is achieved by (a) getting the subject as close as possible and (b) getting the background as far away as possible. Not to belabor a point from the previous article (on the MS-Sonnetar), but an easy and almost unavoidable rule of thumb is that the better a lens performs wide-open, the worse the bokeh. The list of these suppressed lenses is long and distinguished: this Canon, almost every Noctilux, the Hexanon Limited, the Nokton 1.1, the Nikkor 1.1, and basically any lens faster than f/1.4.
The next click, f/1.4, is a touch more contrasty, and is still a good setting to use in harsh nighttime conditions. Take a look at the field curvature here – there is no way the Gummi Bear wrapper should be so close to being in focus like the boys. Actually, it seems unlikely that both boys should be in focus, but there you have it. And here you also have the bokeh vibe. As in vibration.
Just for fun, below is one shot wide-open with an M8 (you can click on it to see it at full size):
Stopping down to f/2 gives better results yet – and the focusing point is now exactly where you would expect it to be. And here is your bokeh test outdoors. This is essentially minimum focusing distance with a background that is 50m away.
At f/2.8, the lens is starting to hit its stride. Especially with the M set for emulation of the Leica 50/1.2, the lighting evens up, the sharpness goes up significantly, and the field flattens a bit. Although this begs the question of getting a slower lens and shooting more wide-open, with these old lenses, you are often better off with a fast lens stopped down than a slow lens wide-open. Also, the big old glass looks cooler and makes child ward nurses less likely to think you are using some kind of super-high-tech digital camera to document medical procedures (when you’re actually just bored).
At f/4, performance starts to max out (like the 1.2 shot, you can click on the one below to get a full-sized image). You almost go into double-take mode because a good example of the lens looks sharper than lot of modern glass. I’m thinking particularly of the 50/1.4 AF Nikkor, which the Canon crushes – and likely because the Nikon is usually tied to a somewhat limited AF system (phase detect systems seem pretty much incapable of compensating for the focus shift that occurs when a lens stops down).
F/8 is where performance starts to degrade a little bit (see the full-sized image). Sharpness starts to decline. People take on cartoonish, ascetic, or vampiric features. Bring your gloves, lightsabers, and garlic.
Conclusion? This lens was sold as the premium lens on a lot of Canon cameras – and in some ways a “bragging rights” lens vis-à-vis Leica and Nikon. The performance at f/1.2 is reasonable but not world-beating; but given limits seen even in digital M shutters (1/4000 sec), you would rarely be trying to shoot this lens wide-open in daylight. At least absent a neutral-density filter.
The pricing of this lens is all over the place; super-clean examples (from a cosmetic standpoint) seem to command a hefty premium, but almost all will exhibit microscopic scratches (cleaning marks), and oil haze is a recurring theme (and it is fairly destructive to these lenses’ coatings). But as with a lot of things, cosmetics are not indicative of performance; you never know whether a lens has been abused over the years until you actually try it.
Be ready to poke around through multiple examples to get one that works really well; keep an open mind about the condition of the coatings; what makes these lenses flare badly has little to do with the coatings but rather with the hazards of having that really big front element.
The MS Optical Research Sonnetar is like The Life Aquatic with Steve Zissou. You either get it or you don’t, and if you don’t understand Jacques Cousteau, Willem Dafoe playing a subservient gay German, or Wes Anderson in general, there is no one who can make you like it. By the same token, if you drive Jaguars, no one with a 276hp front-drive Camry is ever going to win you over by telling you it has a higher thrust-to-weight ratio than an XJS V12 with the flying buttress hard top.
You don’t buy a Sonnetar as your only 50mm lens; in fact, you don’t even buy it as your only fast 50mm lens (and by the way, 50s should either be fast or fun – there is nothing more bland than a 50mm Summicron). The Sonnetar has strange controls for most (the rotating front barrel is exactly like using a Contax or Nikon rangefinder). It vignettes like crazy. At any distance, you can have your choice between correct focus and optical correction.
Why would anyone like it? It’s actually a big question whose only easy answer might be that when you have to shoot an f/1.1 lens in ultra-low light conditions, you pick your poison. You’re playing the limits.
N.B. All pictures shot in b/w are shot with a new Leica Monochrom (typ 246). All shots in color are with an M (typ 240). It’s absurd to change color pictures to monochrome to try to judge sharpness.
What is it? The MS-Sonnetar is the second modern revival of the 50mm f/1.5 Carl Zeiss Sonnar (West Germany, 1950s-1960s), the first one being the Zeiss ZM C-Sonnar 1.5/50mm. Why this type of lens is popular today is puzzling; when lens coatings enabled highly corrected 50mm lenses like the Planar, all of the expensive cemented groups of the f/1.5 Sonnar became obsolete. Today, the popularity of the Sonnar pattern might be in its imperfection: focus falloff in the form of field curvature and vignetting. The Sonnar yields marginally smaller and lighter overall packaging than a Planar or Double Guass, and it has slightly higher resistance to flare.
Every Sonnar revival/clone/ripoff over the past 50+ years has had its own set of strengths and weaknesses; it seems that almost none of them shows the balanced performance of the original Zeiss design. They either sacrifice sharpness for bokeh or go gaga for bokeh and live with a lot of focus shift.
The Sonnetar goes for the gusto with fewer elements and only one cemented group; a lighter, more compact barrel; and almost an entire stop of extra speed. It is the fastest Sonnar-style production lens in terms of T-stops, edging out the 50/1.1 Zunow by virtue of having fewer elements and more effective coatings.
Getting a handle on it. The Sonnetar is a very compact lens; the barrel is smaller than a 50mm Summicron, flaring out to a wider front section that takes 52mm filters (and no, full-sized B+Ws do not vignette). It’s hard to say whether it is modeled after a Zunow, a 50/1.1 Nikkor, or an Opton Sonnar. But all of them have a particular shape to them. The Sonnetar looks most like the Zunow, with the focusing and aperture rings reversed.
The frontmost ring is focus (supplemented with a small lever in the back if that’s what you want); the rearward ring is the aperture control, which smoothly adjusts from f/1.1 to f/16. Like a lot of older lenses, as the aperture numbers get higher, they get closer together (it is probably also a side effect of the Sonnetar’s super-nifty, perfectly circular German iris. But no matter in splitting hairs between f/11 and 16; you won’t be shooting there anyway.
The tough part of the ergonomics is something you’d never expect: the rear lens cap. It screws into the rear lens group, which unfortunately is also the thing that is the coma control. As for the front cap (which also screws in), you’ll probably leave that in the box with the hand-drawn spherical aberration measurements and the pretty hood. You’ll either use an MRC filter or a pinch cap to keep your fingers off the front glass.
Overall build quality. Done out in matte black chrome, the finish of the Sonnetar is a good match for a black Leica M-P or Monochrom typ 246. The black anodized finish is very tough, and the mounting ridges that you grasp to mount the lens will take bits of skin along with them. Numbers are clearly engraved and filled in white. They are legible and inoffensive. There is no way to 6-bit code this lens, since the rear flange is integral with the lens barrel (it is very much built like an old rangefinder lens with a rotating optical unit).
The glass (modified Sonnar design, more air-spaced) is perfectly clean and perfectly coated (from what I understand, MS Optical’s multicoating is a simple 2-layer). The reality is that the efficiency of modern coatings and the low element count makes internal flare a non-issue. Interior blacking is actually dark grey, which may seem puzzling, but if it’s good enough for telescopes, it’s probably good enough for camera lenses.
There are some build quality nits. One is that the lens (both on the sensor and in the rangefinder) hits infinity with about a mm of travel left in the focusing ring. This is probably an artifact of having that ring be the same part that provides the rangefinder cam. This might be of concern if you are trying to focus at infinity by feeling for a stop – and it is no different a problem than using an Asian LTM adapter that is a fraction of a millimeter too thin. It almost seems like you could just loosen the focusing ring screws and shift it so that infinity was on the stop
The other is that MS-Optical only uses a couple of actual lens mounts. The 51.6mm lens mount provides cam action that approximates a 51.6mm (Leica-spec) lens. Its frameline selection is determined by whether the mount is compressed around a notch in one of the bayonets or not. This lens uses about 90 degrees to go from 1m to ∞, which is quite short. This gives you a much faster acquisition time for focus but degrades the focus accuracy. Contrast this to 1950s and 1960s LTM lenses (and indeed the 75 Summilux), whose ponderously slow focusing rate can cause you to miss the moment completely. In any case, you are much better off using the ring than the lever because the larger diameter of the barrel provides better precision (because it takes more movement of the control surface per unit of focus change).
The $&@(!#% “coma adjuster.” The most famous feature of this lens is a “coma adjuster,” a ring around the rear element that has a white indicator dot and four distance dots (1m – white; 2m – white, 4m – red, and infinity-white). The lens is sold with an instruction sheet that tells you this is for adjusting “coma,” which would be the shape of point light sources (round or not). Why does anyone care about coma? It’s a big deal for telescopes, and that’s what Miyazaki designed for most of his life. What you get in terms of optical performance in the near range is a set of very subtle changes. Perhaps this operates better at a distance, but for its stated purpose, the adjuster seems a little bit gimmicky.
What is not so subtle is that the same control – determining the position of the rear lens group – has a tremendous effect on focus (because it changes the focal length of the lens) and on field curvature (whether the plane of focus is flat across the field or curved inward at the edges). This almost off-label use is actually very easy to exploit (see the discussion of what the directions actually say below).
Focal length control is very important on a super-speed lens. A Leica rangefinder assumes the same movement as a 51.6mm lens. Nominal “50mm” lenses that have a 51.6mm focal length can rely on simple movement of the lens cell when focusing to track from near to far at the correct rate. Shorter lenses (like 35mm lenses) have to translate a smaller amount of lens cell movement (front to back) to a relatively larger amount of rangefinder cam movement. Likewise, a 90mm lens needs the cell to move more than the cam moves. With most 50mm f/2 lenses, variances of a couple of 1/10s of a millimeter in actual focal length are not of great consequence because the lens has a little depth of field (or “fudge factor”). Lenses that have super-thin depth of field, such as an f/1.1 lens, require far more precision in their focal length to work well with a rangefinder. One can also surmise that the coma adjuster ring also serves as a calibration method for the lens that does not require reassembly.
According to the directions, this is how to use the coma adjuster ring:
Adjacent to the coma adjustment ring, you will find a white reference point (see the above illustration) to which an appropriate ring position has to be matched by rotating the ring. Using the coma adjustment system, a very high level tuning/focusing optimisation is made possible.
For Leica M Type Rangefinder Camera Users Initially, bring the red dot of the ring to the white reference point by rotating the coma adjustment ring. As you familiarise yourself to this lens, you may wish to change the ring position either to the left or right. For example, at the infinity best point, the actual focus point will be slightly brought forward (therefore, take a photo with focus point slightly backward). At the white dot that is best for 2m distance, a focus point will be slightly brought backward (therefore, take a photo with focus point slightly forward). This might take some practice and experience to achieve best results.
In real life, the tips for using this are:
- Turning the adjuster toward longer distances will make the lens focus closer to the camera.
- Turning the adjuster toward shorter distances will make the lens focus farther from the camera.
- Putting the coma adjuster on 1m will cause a back focus of 15-20cm at 1m, which is not insignificant.
- Putting the coma adjuster on ∞ will cause the lens not to focus (optically) to infinity.
- Putting the adjuster about 2mm short of the 4m mark will produce best focus at f/1.1-1.6 from just under 1m to infinity. This is not surprising, since it is a distance of about 50 focal lengths (2.5m), which is a conventional distance at which lenses are tested. It is also apparently the setting used to measure MTF (as shown on the instruction sheet).
- The lens will decouple from an M rangefinder at the minimum distance stop, so don’t do any testing below about 0.8m.
IN MOST CASES, YOU WILL ONLY BE MOVING THIS ADJUSTER 1 or 2MM FROM THE RED MARK. UNLESS YOU WANT TO GO CRAZY.
It really, really, really helps to have a LensAlign to calibrate the lens because you can see the zone of focus very correctly. Although you can trial-and-err it without this $80 plastic device, the problem is ascertaining the effect of focus shift. You want to hit a calibration where the zone of focus includes the intended point through as many apertures as you can – because like a lot of lenses in this speed class, the Sonnetar has under corrected spherical aberration that causes focus shift with aperture changes. The LensAlign lets you observe a band of high contrast as it moves (and expands) as you stop down. You don’t even need to shoot it head-on as you would with a DSLR; you need to check this from oblique angles too – because that is how you will focus your Leica in real life. Needless to say, if you are going to use this lens with a film camera, it helps to have a digital to get it dialed in.
Even within any calibration, the M viewfinder system (including the improved rangefinders for the M typ 240 and 246) has enough lash in it that the direction from which you focus – as well as small movements that don’t even produce a visible change in the RF alignment – can affect the focus point. So the word is “practice.” Wide-open, you will nudge to a slightly farther focused distance (without making the RF spot move).
Performance. All high-speed 50mm lenses (f>1.4) involve tradeoffs. The simple answer is that the Sonnetar has characteristics that vary depending on the coma adjuster setting, and these correspond pretty closely to the optimization differences in an Opton Sonnar, a 50/1.4 Nikkor LTM lens, and a 50/1.5 Canon LTM lens.
For most testing, I have kept the lens optimized at f/1.1 to 1/6 at distances up to 3m. It performs very well from 0.8 to 10m at f/1.1-1.6. If you get the calibration just right, you can keep it sharp through f/5.6, and it’s sharp across the field. At long distances, however, you get progressive blur toward the frame edges. This is gone at f/8. I suspect that the coma adjuster could overcome things, but distance shots are a little outside the use case for this lens (for distance, you are always better off with a slightly smaller aperture lens).
Sharpness seems to max out at f/1.6 (the dot between f/1.4 and f/2 on the focusing scale). Contrast is about double that at f/1.1. If something like the Canon 50mm f/1.2 LTM lens is your frame of reference, at wide-open settings, the Sonnetar is visibly better (and focuses far more accurately). If you are shooting at f/4 or smaller, something like the Canon provides much more balanced performance.
Here is a sequence that should show the differences at the wide apertures. If you click on the picture, you should be able to see it full-size. First, 0.8m, whole scene. Yes, the 44-year-old unopened bottle of Beam is real, as is the gaffe of keeping champagne at other than depressed temperatures. And no, I can’t explain the presence of the CFL bulb on the bar, since I own no fixture that takes them.
Next, check out the difference between f/1.1 (left) and f/1.6 (right) at 100%. The apertures shown in the metadata are computed by the M typ 246, so they are not entirely accurate. There is quite a bit of contrast jump in one stop.
Next, here is the same comparison at 200%. The focus point here is the stamp “Spring 1963.”
Next, here is the mid-right side at 100%. Still holding together.
Extreme left, 100%. Same story.
Real-world, stressed out, trying to get enough distance to focus in almost complete darkness, you still get good results. This is f/1.6 at ISO 2500 and 1/12 of a second:
And a bit better at 1/45 sec (by the way, the Last Word is something you ought to try sometime):
And this is the obligatory f/8 shot outdoors with a G filter.
Flare is very well controlled except in extreme side-lighting, where you can get some bizarre effects. This is a characteristic of Sonnar-type lenses. There is some “glow,” which is the normal Sonnar flare on hard dark/light interfaces that occurs when the focus point is ahead of the object. It is more visible in the preview mode of an M camera than it is in the final files. Resistance to extreme backlighting is pretty good, a lot better than with the old Canon 50/1.2:
Here is the difficult-to-replicate total flare failure mode. You might want to use a lens hood when the sun is in the corner. Or maybe not.
Vignetting is not going to be a huge issue at close distances, since the barrel is extended. At f/2 and down, it is not obnoxious, especially when combined with the automatic corner correction on the M8/9/240/246. If you want to go very heavy duty on perfect corrections, use the Adobe Flat Field plugin for Lightroom. You will need to shoot baseline calibrations at the distances and apertures you normally shoot. You can do that after the fact.
Color rendition can be a little weird. The “tantalum” glass in this lens (probably standing in for less-exciting sounding “rare earth”) shows mild versions of the color enhancing effects of a didymium enhancing filter (like a B+W 491, Tiffen Enhancing Filter, or Hoya Redhancer). Magenta and yellow seem to be favored here. Here are some pictures that should illustrate this. For your evaluation of secondary characteristics, this is at f/2:
Chromatic aberration is a factor here but not in the traditional way. Wide-open, this lens tends to have the blur from adjoining colors bleed together. On an M typ 240, this looks a little bit like soft focus. On the M typ 246, this disappears completely, and the lens develops some killer contrast. This is characteristic of sticking a lot of old-school lenses on the new Monochrom body; a lot of older optical designs suddenly start looking awesome.
Bokeh is such a bourgeois concept. With spherical lenses, you either get universally good bokeh but bad focus shift (ZM C-Sonnar) or poor bokeh and reduced focus shift (50/1.4 Nikkor, 50/1.5 Canon). Unfortunately, with high-speed lenses, the latter combination (or in this case calibration) is much easier to live with. With the Sonnetar, you want to get as close to your subject as possible with as great a distance from it to the background as possible. Otherwise, you can enjoy what generation of Canon and Nikon Sonnar clones have experienced. By the way, here is a direct comparison between the bokeh of the 50/1.2 Canon and the Sonnetar. Maybe you can tell which is which?
Conclusion. If I did not currently own eleven 50mm lenses (just temporarily), I don’t know how I would feel about this one. That said, the Sonnetar is the one that seems to be welded onto my Monochrom. It’s quirky, it takes a lot of practice to use, and even after a couple of months of practice, there is still a lot to master. That said, it’s an elegant alternative to the Coke cans and second mortgages that tend to dominate the super-speed 50mm space.
The Internet seems to offer very little actually useful information on the M typ 246’s response to color contrast filters. One would observe that this is a product of authors who have little understanding of color theory and the use of filters with traditional film materials. Let’s supplant all of these blind-leading-the-bind pages with a totally new, semi-ignorant page on the subject.
What do we know about filters? Or not?
The first thing to confront is that we don’t know as much about filters as we think we do. Part of the problem is expectations formed by reading filter pamphlets. These contain such questionably useful statements as:
Especially useful for clear contrast between blue sky with clouds and foreground. Provides a natural tonal rendition. Often used for subjects at intermediate distances. (Hoya Yellow K2)
…has a very pronounced effect and darkens violet and blue very strongly, green quite strongly, and even yellowish green a little. Landscape and architectural photos show an increased, almost “graphic” contrast, while a cloudy sky may already appear dramatic. Because the skin tones rendered by the filter color are noticeably lightened in comparison with plant greens, this filter is often used in nude photography outdoors to increase the contrast between the lighter body and the darker landscape. (B+W 040)
The only statement that is almost universally true in filter literature is that the 022/K2/#12 yellow provides a natural tone rendition. This is due to the fact that it makes blue darker than red.
But as far as contrast goes, the reality is that the effect of a filter is profoundly influenced by the color of the light hitting the scene – as well as the color of the objects in the scene. If the predominant light color is complementary to the filter color, then the scene will simply be muddy – because the filter acts as a neutral-density filter. Shoot a red filter in the mountains, and sometimes you don’t cut through the haze. Sometimes you create one.
Applying “standard” filter factors usually has a similarly disastrous effect. To make filters work, you absolutely have to start with a scene featuring colors that look different in real life. Depending on what you are doing, the actual correction may be far less than the factor implies. With TTL metering, you may have to decrease exposure to get what you want.
Depending on the vintage and construction of a lens, the use of filters can also cause focus shifts. Green filters can cause front focus with some lenses; red filters can cause back focus. These are accentuated on digital, where the imaging surface is much thinner than on conventional black-and-white films. This may be the focus (tehehe) of a future installment.
By experience, we can at least understand the following with the M typ 246: filters can have a very exaggerated effect, starting with yellow filters. The following from two months of testing and feeling this out:
- A yellow-green filter (060, X0, Green 11) has small effects on exposure but puts more texture in people’s skin. Same as with film.
- A green filter (061, X1, Green 13) has a noticeable effect on foliage. Same as with film.
- The standard yellow (022, K2, Yellow 12) is still useful for correcting scenes to make color relationships work as expected. It actually makes a very good standard filter because it does not alter exposure much at all. It also has a noticeable effect on blue skies with the new Monochrom, much more so than on film.
- The yellow-orange (023, G, Yellow 15) acts more like an orange (040, Orange 22). The picture at the top of this article was taken with a Hoya G, though you would think it was something stronger.
- The deeper oranges (040, Orange 22) act like reds, and they are the practical limit of what you can use. Stop at 041. In daylight scenes, particularly in seaside settings with much blue light, these start to show diminishing marginal returns because they can affect most things in a scene.
- Red is almost impossible to use.
This is somehow not surprising in light of the fact that Leica only offers filters in light green, yellow, and yellow-orange.
Testing M typ 246 with filters, by the numbers
Do these anecdotal observations have any real basis? The one way to find out is to move away from infinitely variable real-world scenes to see what the sensor does with white light. So here is a quick set of tests:
- Sunlit and bright overcast conditions.
- 90%+ reflectance target.
- 90mm lens (M-Hexanon), defocused (lens at infinity; target closer than the lens’ close-focusing limit).
- Manual exposure keyed so that white clips (the obvious limitation is that setting white to 255 might diminish slightly the differences between no filter and some filter).
- Values are expressed as levels as measured in the center of the frame. This is to avoid having the results influenced by vignetting.
- Blue line is bright overcast; red is direct sunlight. You won’t be using these filters in other conditions.
And the results with a whole pile of 46mm B+W filters is…
Holy exposure cliff, Batman! Your stops are at 256, 128, 64, 32, 16, 8, 4, 2, and 1.
How do we translate this?
It is instructive to check out the B+W response charts that explain what we would expect to see (assuming, of course, a perfect sensing medium that could see all the way from UV to IR). Each filter does not make a perfect cut but rather has its own curve. Reds and yellows ramp up pretty quickly, and greens and blues are something of a free-for-all.
What does Leica say about the M typ 246’s response?
Below is Leica’s own test data for the M typ 246 (I asked, and they sent it to me). The values are fairly consistent with the testing above using filters, taking into account:
- This is chart still computed arithmetically.
- Leica was no doubt able to run this more systematically, with a light source that could crank out much more narrow wavelengths than a filter would admit.
- We don’t know at what stage in the imaging process these values are measured.
Regardless, Leica’s values are generally consistent with what you see mounting filters.
What real-world quirks should we expect?
There are a couple of strange things one might expect, and they were borne out by this test.
- The 092 is labeled by B+W as 20-40x – on the M typ 246, it is more than 256x, meaning that the IR rejection of the camera is incredibly good.
- The 081 (blue) has an unexpected spike in overall brightness. This cyan filter (used for B+W contrast reduction) also causes the camera’s metering system to overexpose (I was able to confirm this in testing).
- The 060 (yellow-green) reads a little lower than Leica’s data on both Monochroms might suggest. This may be explained by peak camera response falling between the two filters (060 and 022) that simply wouldn’t show up on this chart.
Is it really different from the Monochrom Typ 230?
Now, in terms of the “rendering” between the M typ 246 and its predecessor, the Typ 230, we are told (anecdotally) that it is “different.” Is it? So let’s take the plot with real-world filters and convert it to log values (which for some reason fascinate the publishers of exposure data).
Note: every logarithmic chart has its own scale determined by the base; here, I used 255 (because that is how Photoshop reads out). Leica may have used a number based on raw output from the sensor. Kodak has a standardized negative density that informs its chart. The one thing that can be done with these charts is to compare shapes to see if the response goes up or down and where on the spectrum.
And then compare it to the M typ 230 chart for the original Monochrom (below), which is expressed the same way. You can see that these are not very different in shape – except that the Typ 246 seems to be a tiny bit more friendly to oranges and reds. It would actually be nice to get the raw data to plot these together, but alas…
This in turn can be compared to film. Note that neither Monochrom camera has the little blip in the red range that TX and TMY do. But that has a lot to do with the dark science of film design. One thing these charts do reveal is why you actually need to make sure that no UV light hits TMY – although the film is a little less sensitive to blue (and therefore needs less of a correction), it has quite a bit of UV sensitivity (consider a B+W 415 strong UV filter).
All numerical silliness aside, the point here is that the responses of the Monochroms are fairly similar – and that on both, you should go easy on the strength of contrast filters – instead working to make sure you have a sufficiently varied scene to make their use meaningful.
Unfrozen Cave-Man Design
The comparisons are inevitable (if you were born before, say, 1985). They are unnoticeable to Fujifilm’s obsequious band of pre-release “reviewers” (more on this later). But the similarity is undeniable. Fuji has, for its sixth camera based on the X-Trans II sensor and its eighth based on the 2011 Sony 16Mp base sensor, copied the design of a camera given away with magazine subscriptions. Hopefully unconsciously. That said, let’s not denigrate the Time-Life unit too much; it has a 50mm f/5.6 glass meniscus lens that at a small enough aperture will be competitive with multi-element lenses. It also contains so much lead in a ballast plate in the base that the scrap metal content outweighs (literally) the purchase price. Operators are standing by.
The only thing that makes the X-T10’s design really egregious coming from Fuji is that the Fuji X line is supposed to be a better-thought-out alternative to DSLRs. Yet here we are, in 2015, and the most recent two models have aped DSLR designs. Are we as a market that gullible? Do they think this will somehow make it easier for us to swallow giving up heavy SLR gear? Whatever it is, it does not say good things about the market or the manufacturer.
The silly game of making one thing look like another goes back a while. Consider the Horsey Horseless Carriage. Whether it was serious or a parody perpetrated by a rich gentleman, you get the point:
One is left to wonder whether the head was to be sourced from taxidermy or upholstery, but whatever the intent, it was not going to end well for horses.
Mimicry in camera design is not new, but it is a relatively recent phenomenon. In most cameras, form has to follow function; a camera is a box with a lens on one end and an imaging surface (film or digital) on the other. In the old days, there were no twin-lens reflexes that looked like rangefinders and no SLRs that looked like anything else. It is probably also fair to say that with a few exceptions (like the Zeiss Tenax or a couple of Raymond Loewy specials), no one actually cared whether a camera was ugly or not. After all, a Rolleiflex is only attractive in the context of twin-lens reflexes. You wouldn’t put it on a coffee table.
For some time, the proportions of digital SLRs were tied in to the film cameras that spawned them. Some of this was understandable; makers were in many cases recycling the chassis castings/moldings of existing cameras – or reusing key components like mirror/shutter boxes and viewfinder assemblies. When DSLRs started to feature their own purpose-built main castings, there was some carryover that were hard to explain – such as why grip surfaces retained proportions originally designed to house 35mm cartridges. But then again, the Space Shuttle’s engines’ dimensions are ultimately traceable to the size of the rump of a Roman soldier’s horse.
Fuji, for its part, stuck to function in designing its early X-series cameras. The X100 looked like a baby Leica M3, but any combination of an integrated optical finder is going to force a certain layout – the window either goes on the left of the right of the lens, and most people are right-eye-dominant. Yes, there was a little window-frame embellishment, but that has evaporated in the X100T. The X-Pro1 carried very subtle call-backs to the G/GL690-series cameras, but it too stuck to the function-defines-form script for the most part (it is clear given subsequent cameras that Fuji made this camera much thicker than it needed to be, given that it had a non-articulating screen). The XE, XM, and XA cameras looked like other finder-equipped or finder-less bodies – various Panasonic G, Sony NEX, and Olympus EP cameras.
The industry turning point (for the worse) came with the Olympus OMD-E5 in 2012, an unabashed visual clone of any of a number of Olympus OM-series SLRs. There was no reason to stick a pentaprism-looking housing atop a mirrorless camera. Pentax was also right there with its K-3. As if it had passed through a mirrorless camera development stage, the K-1’s top bump suddenly blossomed into a full-figured faux prism.
Fuji was always late to the party, and it took Fuji until 2014 to imitate SLR design in the X-T1, the pretext being that the big EVF required a pentaprism “hump.” Fuji dropped that pretext with the 2015 release of the blocky X-T10, stating now that it did this to recall Fuji’s (forgettable) AX line of SLRs. But the X-T10 does not look like an AX at all; it looks like a rinky-dink plastic camera. And its design appears driven neither by function nor aesthetics. It’s an ugly little box.
Why should anyone care?
On one hand, one would be tempted to ask, who cares? Fuji owners (and potential Fuji owners) should. Like a photographic version of roles written for Jason Statham, Fuji has for three years pumped out camera after camera based on the same sensor and incremental inclusions of off-the-shelf technology. Fuji’s three big additions since the X-Pro1 – namely, high-quality EVF technology, on-chip phase-detect focus, and face-detection – were set up for consumer products before the X-Pro1 came out (check out the timing of the NEX-5R and its patents). By the time the X-E2 came out, all the pieces were in place for a serious update to the X-Pro, the “flagship” camera. Between then and now, Fuji has instead pumped millions into design, tooling, and software for multiple minimally differentiated cameras – far more than it would have taken to put an X-Trans II chip, EXR II processor, and better EVF into an X-Pro2. This points to one of two possibilities: (1) the X-Pro1 was such a dog for sales that management required the engineering team to start doing what other mirrorless makers were doing or (2) Fuji has turned to avidly churning the market to keep up market share in the declining interchangeable-lens market, and an updated X-Pro1 was not anticipated to do the job.
1. Looking like what sells. On the first point, it is of some note that the X-E2 resembled the Olympus and Panasonic Micro 4:3 cameras, as well as the Sony NEX-6 and -7 APS-C Cameras. The X-T1 and -T10 have followed other manufacturers’ quasi-SLR digital designs. The lens selection in compacts of both formats (APS-C and M43) also reflects a more into competing with entry-level DSLRs: zooms, big zooms, and big primes.
This direction (physical bloating) undermines what APS-C (and Micro 4:3) were supposed to be about: smaller, lighter cameras. This has never really happened: Fuji’s and others’ lenses are not as much smaller than FX lenses as one might have been led to believe. Part of this may be that it’s cheaper to design big telecentric lenses than smaller, more symmetrical ones that require offset micro lenses. And autofocus probably exerts its own size expansion.
But for people who liked the idea of the X-Pro1, this translates into a camera that is somehow bulkier than a 24x36mm Leica M. That does not seem to be the right direction in an era where camera phones (that everyone is already carrying) are eating into compact camera sales. If aside from a camera phone, we are going to haul around another box with its own lithium-ion battery, one that is not plugged directly into social networking, do we want it to be bulky?
2. Churning and burning. The second possibility is more sinister-sounding – but it is supportable. Fuji’s product releases have occurred twice yearly since the X-Pro1. That is very often considering that the underlying technology has moved very little since fall 2013. Fuji’s marketing strategy for the XF has been simple: use shills to build up excitement, release products at high prices, slash prices when sales start to flag a couple months in, and then build excitement for the next big thing.
Fuji is not alone here, but it seems more visible in its use of “reviewers” to promote the process. The practice began with with some Fuji employees — but at least they disclosed who they worked for. But then it moved on to “reviews” started coming rom (a) semi-pros; (b) Fuji-sponsored photographers; and (c) a few easy marks who believe that whatever just came out – from whatever manufacturer – is the greatest thing ever (we all know who they are). Throw into the mix some hyperventilating Fuji-oriented sites that get revenue when people click through to retailers, and you get the perfect storm of non-objective reporting. After all, whether it trips FTC guidelines or not, who would bite the hand that feeds him? And in a world where people pay good money for SEO work, catapulting your photo business to the top of any search has value.
Then comes the product. It’s great. It takes great pictures. I know this first-hand.
And a few months later comes the burn. Left with a run that it can’t sell, and even absent any fundamental spec change or replacement model, Fuji will usually slash prices 20-30% within six months. This gives an impression that every Fuji model is overpriced to begin with – and in slashing new prices, Fuji puts its own new sales directly in competition with the secondary market. This in turn hurts middle-class amateurs trying to unload old Fuji equipment to upgrade within the line. This is a great strategy for fixing a one-time inventory problem, and certainly no budget shopper in the used market will object. But especially where forced depreciation occurs without some compelling improvement (or even the oddly missing “camera body” roadmap), existing users start to feel burned, and smart shoppers learn to hang back. Why would you ever buy new? Look at completed sale prices on Ebay. Buying an XF body or lens new costs you 30-40% the day you open it. Put another way, Fuji’s pricing practices violate a fundamental rule of luxury goods sales (and let’s face it, a $1,300 camera body is a luxury good for most people): never slash MSRPs. You can have occasional rebates, bundles, or “demo” units. But once you start slashing prices, you begin degrading your brand equity. Or has that happened already?
3. Rewarding risk? Fuji should never lose track of the risks that one takes on a proprietary camera system. XF lenses do not fit anything else. There is no repurposing the same lenses on old film bodies (such as with Canon, Nikon, Pentax, and Leica) – or even repurposing them on different types of digital bodies (you can stick the same Nikkor on an APS-C D7500, FX D4, and 36Mp D810, for example). In a closed digital system. people invest in a collection of lenses in part on the premise that the line is going to continue – and that the line will remain viable compared to other systems. In a sense, everyone knows that they will be replacing camera bodies in 3-4 years. But when real upgrades never come, it causes justifiable questioning. And it’s not just sensor resolution. It goes to functionality:
- Will battery life ever improve?
- Will there ever be a good TTL flash?
- Is there something about X-Trans decoding that makes it too processor-intensive for a 24Mp sensor?
- Is the “organic sensor” thing a dodge for never upgrading the X-Pro?
- Will the video function get less “aliasy?”
These are questions that Fuji should be in a position to answer.
Fuji presents a strange case. Its X100 line is fantastic (and its marketing low-key). Even in the XF line, there is little to complain about in image quality. But the reaction to Fuji’s marketing strategy? Maybe the best strategy is to wait out new Fuji XF product releases and just buy used. History, after all, tells us that most of the the prices are inflated anyway.
The advent of digital photography has made a couple of things clear: (1) many pros did not have so much talent as ability to overcome barriers to entry and (2) much of what you were told about lens quality – in terms of SLR versus rangefinder – was (or is now) untrue. This second point bears some examination.
What is the state of play on SLR vs rangefinder lens quality? The perception of SLR versus rangefinder lenses was developed when both shot on film, and there has been a major reversal of fortunes. Film was not sensitive to the angle of incidence of light coming from the back of the lens, and because rangefinders did not have mirrors, lens designers could make symmetrical lenses whose rear elements might sit just a few millimeters from the film surface. This knocked out distortion, incurred a little bit of vignetting (which was largely absorbed by the latitude of negative film, and resulted in a compact package.
SLR lenses, on the other hand, had to design around mirrors. So lenses under 50mm generally had to start with a longer focal length and then compensate it down by introducing a negative element in the front. This retrofocus arrangement generally compromised distortion and sharpness slightly, but it produced a good enough result that SLRs were able to exterminate rangefinders as mainstream cameras. But today, when the imaging surface is a flat sensor with a Bayer pattern, chromatic aberration, angle of incidence, color shift, and vignetting became big issues for traditional rangefinder lens designs. Even Leica’s very expensive wide-angle rangefinder lenses, on Leica’s very expensive bodies, were now capable of returning disappointing results in terms of color shifts and vignetting.
The goal today is sometimes called telecentricity, which is commonly understood to be the situation where light rays hit the sensor parallel to the lens axis. It is still achieved by retrofocus designs. It is telling that many Leica and mirrorless wide angles that avoid color shift and vignetting are creeping up in size to SLR lenses. Witness Leica’s fast wide-angle lenses, which are quite large – especially when you compare aperture to aperture. A 21/3.4 Super Elmar has a 46mm front thread; the 21/2.8 Elmarit-M has 60mm, which is only a hair smaller than a 20mm f/2.8D Nikkor (at 62mm). But nowhere is this phenomenon more stark than in Fuji XF lenses, where the register is shorter, lenses cover an APS-C image circle (much smaller than a 35mm camera’s) nor have to clear a mirror, and the lenses yet are 80-90% as large as SLR versions of the same.
Why do SLR lenses meet our expectation bias? In one sense, it is fair to complain about the quality of SLR lenses because the end result is not what we want – and measured as a system, they indeed underperform. But in an era where SLR lenses are being adapted for use in other things, it is fair to deconstruct what part of this is fairly attributed to parts of the system we are no longer using, such as the traditional SLR itself. And let’s be clear about this: until the advent of mirrorless cameras, the SLR (or DSLR) was the only way to achieve perfect, parallax-free framing and to reliably focus long telephotos and macro lenses.
— Focusing wide-open, shooting stopped-down. All SLR lenses are focused wide-open, which makes focusing accuracy vulnerable to focus shift. This phenomenon, which comes with spherical aberration and “good bokeh,” means that a lens might be perfectly focused at a wide aperture but back-focused when the aperture stops down for shooting. This same thing afflicts both rangefinders and SLRs, only in rangefinders, it is written off as “focus shift” and in SLRs, it is called “being a poor performer.” Aspherics and floating elements help mitigate this – and both are in play on modern lenses of all types.
— Suboptimal focusing screens. You can’t win with a single screen on an SLR. The original SLR focusing screen, a plain ground glass, excelled at focusing telephoto lenses because as the focal length increased, so did the magnification of the subject that the photographer sought to focus. But this screen was dim in the corners and sometimes dim, period. It also failed with wide-angle lenses, where the details critical to focus were actually reduced. Over time, SLRs developed focusing aids like split-image center reticles (actually tiny rangefinders). They also introduced fresnel surfaces to brighten the corners. These made it simpler to focus lenses 50mm and down, but they degraded the ability to accurately focuses lenses 85mm and longer.
— Small viewfinder magnification. A key constraint of camera viewfinder systems is that eye point and magnification are in direct opposition. In practical terms, this means that to be able to see the whole picture through a reasonably-sized viewfinder, especially while wearing eyeglasses, the picture must be reduced. This degrades the focusing abilities of every SLR focusing screen.
— Taste-making. The problem with publications like Popular Photography (and now sites like DxOMark) is that they focus the user’s attention on tests that bear little or no necessary connection to real life.The old-school photo magazines paid little attention to rangefinder lenses, so the tests of SLR lenses were generally focused on the relative merits at huge enlargement factors, and not surprisingly, among SLR lenses, the results favored more expensive glass (the larger advertising budgets of the major companies is always suspicious as well). This did not affect the sales of SLR lenses in general (because at the time no one really liked rangefinders), but it did lead to a perception that anything other than a name-brand Canon, Nikon, Pentax, Minolta, or Konica was garbage. This was an inaccurate and unfortunate perception for three reasons: (1) Cosina, Tokina, and Sigma were making some of the major brands’ lenses under contract; (2) some of the aftermarket lenses performed adequately for the purpose; and (3) the blanket perceptions about these products, particularly third-party lenses, has landed literally millions of completely usable (if not in some cases very good) lenses in landfills.
— Leica people. Yes, we said it. For all of the doctors, economists, attorneys, CPAs, and engineers who own these and similar rangefinder cameras, there is a widespread misperception that MTF figures for SLR lenses – like home run statistics for Japanese baseball – need some kind of implicit adjustment downward to be comparable to MTF for rangefinder lenses. Not so. MTF is MTF, and it is measured in standardized procedures that do neither the camera body nor care about the lens design itself. It is of some note, conversely, that Leica’s presentation of 5lp/mm (a largely obsolete measure relevant primarily to optical prints) leads to an impression that Leica’s MTF numbers are “higher and flatter” than comparable brands.
Turning the world on its head. Two things changed the picture (so to speak), and quite radically.
— First becoming last. As noted above, he advent of 24x36mm (“full-frame”) digital cameras has exposed just how poorly some traditional rangefinder lenses perform when they project images onto flat sensors. That negative effects are minimized on smaller digital RF and mirrorless platforms (because those corners are effectively cut out of the picture) is immaterial; the only compelling thing about using rangefinder lenses on another camera is killer wides. And frankly, native APS-C lenses – because they are designed correctly for digital sensors – crush adapted rangefinder wides.
— The closed circuit. One of the things that makes mirrorless cameras really, really good is that their autofocus systems can gauge focus from the sensor itself. But this benefit – which bypasses all of the focusing infirmities of SLRs. But the same advantages obtain when attaching manual focus lenses. Not only can the user see the image exactly as resolved by the sensor; he or she can see it at greater magnification or with focus peaking. Getting virtually any lens on to any body never seems to cost more than $30, and there is now plenty of opportunity for exploration on an epic scale.
How do SLR lenses do on digital bodies? The answer is, “it depends on the lens.” The first place to start is the adapter. It needs to be plane-parallel and to have the correct register. Many adapters are off-kilter and are cut short to “assure” infinity focus. They will need to be shimmed sometimes to achieve correct infinity focus (if you want to scale-focus wide-angle lenses). Once you get past that, this is what you can expect. Over the next few posts, we will explore some favorites, but we will spill the beans on a few “sleeper” lenses here. Caution: be careful with M42 (Pentax Screw Mount) lenses with automatic apertures – you may need to disconnect the stop-down pin to get to shooting aperture.
— Wide angles (<35mm). Because these lenses have a palpable focus point wide-open, an EVF, either at magnification or with focus peaking, is the best way to focus these. Consider also that if you are shooting traditional rangefinder wides and actually focusing them, you have to look first in the camera’s viewfinder/rangefinder window, then switch to an external finder. An EVF kills both birds with one stone (or look). Wide-angle lenses will generally perform best close-up, where errors in infinity register will have the least effect (and you should never be aiming for infinity with shorter than a 35mm lens anyway – since subject details are getting too small to give any impression of sharpness). If your thing is close-up, wide-open shots, the Vivitar 20mm f/3.8 Auto is one of the best and cheapest things going. The header picture for this article is shot with it, wide-open on an M typ 240 (which is way more resolution than any historic 35mm-format lens was ever made to handle). Reasonably low distortion (-5 on Lightroom, if you have any straight lines in the shot), high sharpness (click to get it full-size, then blow it up to check out the eyes, which are the focus point), nice bokeh, and reasonable vignetting. Vivitar lenses should not be ignored; this was a company that often employed its own lens designers in the U.S. and produced many manual focus lenses that were quite good (disregard the autofocus products and recent-vintage manual focus lenses, which can be pretty bad). Did we mention that it often costs less than $60? The Tokina RMS 17mm f/3.5 manual focus lens is also pretty good, though it often shows up a bit overpriced. Adapted wide-angles are not as compelling on APS-C cameras – because they become slowish, semi-wide lenses with huge form factors.
— Normal lenses (50mm-60mm). This is the place where there is not much point to adapting lenses – except on APS-C cameras, where these behave like fast-ish short telephotos. The lens that came with your camera is going to outperform an adapted lens – and focus both faster and more accurately. Plus you already own it. One exception is in super-speed (f≥1.2) normal lenses, which become the equivalent of a 75/1.2 on an APS-C camera or remain an awesome 50/1.2 on your Leica M or Sony A7. If Leica users need EVF to accurately focus the $10K 50/1 Noctilux, you shouldn’t feel bad about using one to focus your 1970s Nikkor. The nice thing about 50/1.2 lenses and 57/1.2 lenses is that they were every SLR manufacturer’s showpiece lens; the optics are almost always great. The other use case for adapted normals is for lenses with “character,” such as Tessars and Sonnars. The Soviet Industar 50-2 (50mm f/3.5) and -61 (f/2.0) (both 50mm Tessar, M42 SLR mount) fit this bill.
— Telephoto lenses (≥75mm). Assuming that you can get a high enough shutter speed to use these (you generally want the reciprocal of 2x the focal length or faster), this is where things get fun. SLR telephotos are often a stop or two faster than rangefinder telephotos, and they often have slightly lower contrast wide-open (which was never historically a problem, since for most of history people used these lenses to shoot high-contrast, low-light pictures). Focusing is less challenging due to the higher magnification, and with many of these, focus peaking suffices (magnification would be absurd). From a quality perspective, even cheap telephotos work really well. Here, we would jokingly tell you to “go big or go home.” A worthwhile lens to try is the Konica Hexanon AR 135mm f/3.2. This is the best of Konica’s SLR 135s, it is the cheapest ($50 on Ebay), and it focuses down to a meter. Make sure it’s the 3.2 and not the 3.5 or 2.5. The Soviet Helios-40-2 (85/1.5) is a cult favorite, but there is no argument that it is cheap at $300-400 these days. It was fun for a C-note, but those days are over. The Soviet Jupiter-9 (85/2) (Sonnar, M42 SLR mount) is also a solid portrait choice.
— Zoom lenses. There are only three true “zoom” lenses for digital rangefinders: the 16-18-21mm Tri-Elmar, the 21-35mm M-Hexanon Dual, and the 28-35-50 Tri-Elmar. The first two are expensive ($>2000), and the third is kind of ho-hum. And none of them is a true zoom; they are all lenses that have two or three discrete focal lengths. This is an area where the things that are most fun are not intuitive. Wide-angle zooms can be unwieldy when adapted to digital cameras; telephoto zooms can be somewhat challenging to control (but have some merits). The midrange zoom is where your sleepers lie, and if you are a heavy EVF user, a good, compact 35-105mm is not a bad thing to have around. One to check out is the AF 35-105 f/3.5-4.5D Nikkor ($100-150 used). This is a tiny, aspherical, internal-focusing push-pull zoom. It is quite sharp and contrasty, and if you ever get back to your Nikon DSLRs, it is quite a nice lens. It was not a cheap lens when it came out, but selling at around $100 today, it’s one to consider.
— Novelties. Many fun (and very occasional functional) accessories were made for SLRs – cheap fisheye lenses, 90 degree attachments, telescope adapters, and the like. For occasional use, these can be economical and entertaining. Fisheyes in particular are something that are, for most people, not worth investing in. Many of these lenses want 24×36 sensors to reach their full, ahem, potential.
Conclusion. It’s probably not good to counter one generalization (that old SLR lenses are no good) with another (that they are all good). For people who occasionally need a focal length, frequently use EVFs to focus heavy fast lens or telephoto users, or are already zone-focusing wide lenses, older SLR lenses are an avenue that might be helpful. Not every SLR lens is a great performer at a small pixel pitch, but there is value in seeing what can be done more simply and cheaply than forking over another several hundred (or several thousand) to buy a native RF or mirrorless lens that comes out of the bag once or twice a year.
Since the original piece inadvertently left out a few items, here they are.
Effects of face recognition. The prolonged use of face recognition brings a few things to light:
- The X100T’s lens (essentially an unchanged X100 23mm f/2 lens) is much better close-up and wide-open than you might have been led to believe by using the focus-and-recompose method (which you will use if face detection fails).
- Face recognition (or more accurately, its confusion with two faces in-frame) encourages compositions either with one visible face or two in much different planes of focus.
- The problem, at least initially, is a conditioned inhibition from framing a face at the extreme left or right side of the frame.
- A profound sense of disappointment ensues when one considers that the face recognition of the original NEX-5 works faster and keeps working during video recording.
Electronic shutter. This feature takes advantage of the electronic front curtain function of the X-Trans II sensor. The upside is that you can now expose at ISO 3200 and f/2 during a nuclear explosion. The downside is that you cannot use flash to do it. In terms of actually needing a shutter that can fire for 1/32,000 of a second, there are virtually no such applications in real life. The real purpose of the electronic shutter is to cut shutter lag. Ordinarily, the X100-type shutter would have to close and then open to fire; with electronic shutter selected, it fires and then closes. There is a tiny bit of lag before the next shot, but this makes the camera much better at capturing the right moment (“decisive” for those who would pretend to be Catier-Bresson).
“Rolling shutter.” Granted, this can be a problem if you shoot F1 racing from the sideline on the straightaway, but there is no real rolling shutter issue with the X100T. This “problem” has been trotted out in quite a few online reviews, but it is very difficult to show in real life. In fact, the X100T shutter captures much faster than a normal SLR shutter (which typically scans a slit in 1/320 sec max) – so if your application were going to present an issue with the X100T, you would already have seen it on a DSLR.
Fuji WiFi vs. EyeFi. The Fuji internal system has a few advantages over EyeFi,
- It can automatically resize on the fly for transmission.
- It can select shots for transmission without having to trip the “protect” flag.
- It does not burn power to project a WiFi signal unless you specifically tell it to.
- It does not take so much work to get it to wake up to transmit.
- It does not dictate the maximum storage size of the camera.
- It does not physically fall apart or slow down/ jam up under heavy use.
On the other hand, EyeFi still has a few advantages up its sleeve:
- It can be moved between cameras.
- In connection with moving it, any camera you use it in will show up with the same SSID.
- It is better when you are shooting in a quasi-tethered manner (i.e., you want all photos to flow to a handheld) because it lets you use the camera like a camera. The Fuji requires its somewhat clumsy remote mode.
The nice thing is that you can use either system.
Exposure counter. What.the.hell? It’s bad enough that Fuji invented this on the GW and GSW cameras; it’s worse that people flip out over it when buying any used digital camera; and it’s worse yet that Fuji somehow decided to put a shot counter on the setup menu. And while we are reaching for superlatives, does someone have an explanation for why this is even a thing when according to the documentation, the counter is incremented by various operations that don’t even take pictures?
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It would not be a Machine Planet kind of Friday afternoon if we didn’t boot up a 1970s Pioneer SA-9500II, crank up the David Bowie’s Young Americans on the Wheels of Steel, and pray that the protection circuits don’t open prematurely. There is a mild short somewhere. Maybe in a speaker wire, maybe in the brain. But while you’re remembering your President Nixon and the bills you have to pay, remember the Leica sold during that presidency: the M4. For its third (and perhaps final) iteration of Fujifilm’s Kleinerersatzmesssucherkamera (to clumsily and incorrectly coin a German compound), the Japanese company dropped the frame around the viewfinder window – just as Leica dropped that frame from the M3 to the M4 (let’s ignore the M2 because it doesn’t fit with this theory). If Leica had old-man shills instead of effusive wedding photographer shills, someone would have pointed this out sooner. But let’s face it, this entry is highly unlikely to be linked to the enthusiastic Fujirumors.com.
There is a superstition that says to upgrade on the odd numbers for Nikon (F to F3 to F5) and on even-numbered ones for Leica Leicas (M2, M4, M6). If you consider the F2 ugly, the F4 clumsy, and the M5 weird, you might also think about upgrading from the X100 to the X100T.
This piece will concentrate on differences between the original X100 and X100T, on the assumption that people are not considering incremental upgrades between the S and T. Let me know if I succeed in telling you some things that other writers have not. So let’s go point by point.
Design. The X100T is roughly the same dimensions as the X100; however, almost every exterior part has been changed between the two cameras. This is indicative of Japanese consumer product design – things get redesigned even with no apparent purpose, apparently without regards to the costs of tooling all new parts. That said. the X100T oddly has the same rubber plug near the battery door that the original X100 does – despite the fact that Fuji does not officially support AC adapters for this camera. The black version, which I tested, has a speckled finish that is not unlike a finer-grained version of what Nikon uses on its higher-end bodies. The frame around the front window is gone, as is the divot in which the ambient light sensor sits.
Layout. Compared to the original, the layout has changed somewhat.
The top deck is the same, the front its same (with the exception of focusing mode, which has been revised to reorder focusing modes as S-C-M (bottom to top) rather than the accident-prone C-S-M. This brings the camera in line with current DSLRs and eliminates an annoying tendency of the original to end up in continuous or manual by accident. And no one understands quite what continuous is supposed to do on the X100 or X-Pro1.
The rear left button layout is considerably different, and it has not changed for the better. The original X100 had four highly tactile buttons running down the left side, from top to bottom, Play, AE (doubling as zoom-in in playback), AF (zoom-out), and View Mode. The X100T has changed these to View Mode, Play, Trash, and WiFi. The Trash and WiFi buttons are re-programmable, but the cardinal sin lies in moving the play button to a position where in reaching for it, the user constantly cycles view modes: viewfinder, LCD, eye sensor, and many permutations in between (like the strangely useless viewfinder only plus eye sensor, which shuts all views off when not looking through the VF. This causes unexpected problems if shooting and even occasionally checking pictures on the back of the camera. The smaller, lower-profile size of the buttons is even less helpful.
The rear right is similarly a mess. Display mode is in the same place though much smaller. Drive has thankfully been moved to its own button, out of the way of accidental pushes on the scroll wheel (which is not abolished). The problem is that the Drive button is now directly in the path of any accessory thumb rest (like the Thumbs Up). The magnification control has been moved from the left buttons to a full-fledged control wheel (occupying the space of the former rocker switch). But this too is subtended by a thumb rest. AE/AF lock is its own button, smaller than on the X100 and right in line with the button the activates the useless Q menu, a tactile failure just as it is on the X-Pro1.
Fortunately, the X100T has seven re-programmable function buttons:
- FN (still in the same place on the top deck – default function is to start video recording without any intermediate menus).
- Up arrow
- Left Arrow
- Right Arrow
- Down Arrow
Here are some suggested things to program to these buttons:
- Video (because otherwise you would have to wade through the Drive menu) (FN)
- Focusing area (Up)
- Film simulation (Left) – still has a bunch of films whose names most users of this camera would not recognize, plus “Classic Chrome,” a pretty obvious knockoff of Kodachrome, a film Fuji never made.
- Flash mode (Right)
- White balance (Down)
- Face Detection (Trash) – this is new. Face detection (described in more detail in Focusing, below) detects human faces to set focus and exposure.
- WiFi (WiFi) – this activates the connection memo used to connect the camera to the Camera Remote app.
This is the full menu of things that can be mapped to the seven function buttons:
- Advanced filter (the “artsy” effect filters). For those who can’t wait for Photoshop, you can do all of your fakey selective color, cross-processed, toy camera, and tilt-shift effects. Also soft focus.
- Multiple exposure
- Preview depth of field
- Iso – this now includes the option to program up to three different auto-ISO presets. And they don’t work with flash unless you use a Fuji unit.
- Image size
- Image quality
- Dynamic range
- Film Simulation
- White balance
- ND filter
- Photometry (i.e., “Metering Mode”)
- AF mode (area/spot)
- Corrected AF frame
- Flash compensation
- Select custom setting
- Preview Pic. Effect
- High performance this makes everything go faster, including your batteries.
- Conversion Lens – this is for the TCL-X100 and WCL-X100, the 28mm and 43mm conversion lenses.
- Shutter Type – you can use this to trigger the new electronic shutter, which goes up to 1/32,000 second. This is a teats-on-a-bull proposition, because to need that shutter speed, you would need to have the camera at 3200 ISO and f/2, on the surface of the sun. The super-fast shutter does not work with flash, nor does it capture action well.
- None (mercifully)
Operation. Assuming you can keep your fingers in the right places, the camera is snappy, responsive and quick to take pictures. And that’s all you can really ask. All controls have much more solid clicks (particularly the top dials). The 1/3 aperture stops are actually annoying.
Focusing. The X100S and -T introduced phase-detect focus to the X100. This is supposed to speed up focusing, which it does in very bright light (as in EV 11 and over); contrast does not seem to enter into the picture. Focusing is very, very quick in this mode. But note that this mode does not cover the entire frame and does not operate at all when faces are detected in frame. You can tell when phase-detect is working because the focusing reticle just goes green with no hunting. Phase-detect is used to support the “split image” focusing aid that is available in M mode (and in the “tab”). The contrast-detect focus is faster than on the X100. There are two things that are actually exciting about the X100T if you are used to the X100.
- Face detection. Although not perfect and often arbitrarily selecting between faces in a shot, this feature eliminates a lot of focus-and-recompose shooting. Exposure then adjusts for the face. When no face is detected, the camera reverts to the chosen focus point and either phase-detect or contrast-detect as necessary. Note that face detection requires that (1) the camera be focused enough to pick out some face at least vaguely and (2) that the face be larger than the focusing reticle. Face-detection does not work in OVF mode, though with the “tab” (see below), it should be possible.
- Focus tracking during continuous shooting. Focus continues through continuous shots. It might fall behind the subject, but it is a considerable step up from the locked focus that the X100 exhibited wile in continuous. Continuous focus locks out face detection in multiple-shot sequences.
There is a “pre” focus setting that seems to mirror the “continuous” function on the X100. But here it is actually useful because it facilitates face detection. The “real time” parallax correction operates only in manual focus. Why is this a marquis feature of the X100T?
Imaging. See any review of any camera with any 16MP X-Trans sensor. The face detection tends to up the sharpness of faces (compared to focusing and re-composing). Your subjects will hate you.The X100T has a lens modulation optimizer (LMO), which is designed to combat diffraction. In general, versus the X100 sensor, this picks up about a stop of low light capability, four extra megapixels, and a bit more decoding time on Lightroom.
Viewfinder. Two major observations here. First, there are more megapixels, and the menu text does look finer. Second, this is not the revelation that some people seem to suggest. The pixelation during contrast-detect focusing is much smaller, but that’s about it. There is a new “Daylight” mode that makes the screen incredibly bright – but makes everything look overexposed snd washed-out indoors. Finally, the fast refresh rate causes strange interactions with fluorescent lights. The fonts and arrangements for the in-viewfinder displays have changed. They are more comprehensive but also less legible. A helpful feature in EVF is an indicator that – even when you are in photo mode – tells you how much recording time you would have if you hit the instant-on button for video (internal memory holds a whopping 8 seconds).
The “tab.” As if switching between EVF and OVF were not enough to lose track of, pushing repeatedly to the right toggles the “tab,” which is a small semi reflective mirror in the lower right corner in OVF mode. In autofocus modes, this operates to show what is actually in focus. In manual focus, it can show your choice of focus peaking or a split image view. Pressing the control wheel gives you a choice between actual and 5x magnification; holding it switches between focus peaking and split image. The tab is dangerously close to the long-fantasized “digital rangefinder” that Leica users have begged for: it is an electronic superimposition in an optical finder. It is brilliant. The unfortunate thing is that it cannot be put in the center of the frame. The problem appears to be that the finder itself does not have enough contrast in bright light to mask ambient light and replace it with a usable split image. That can be fixed in the corner, but in the center frame, it would require a permanent silvered square.
Batteries. Alleged improved battery life is not a big deal. There is only so much power in a battery the size of an NP-95, and the chemistry has not changed. What is a big deal is that you can now charge the batteries via the USB 3.0 port on the camera – meaning that you can plug it into your computer, your car, that dodgy 15,000 MaH battery pack you bought on Ebay, etc. It is nice that Fuji has decided to continue to use the matchbook-sized NP-95 battery. Although it doesn’t have the greatest capacity, you can reuse your old batteries and chargers and interchange them between cameras as needed. Video. Aside from the ability to trigger video instantly (welcome to 2009!), the video has been upgraded to 1080p, 60fps (not obviously car whether -p or -i). A variable-level mic jack has been added (it also operates as a remote release), manual focus is available for video, and ISO is adjustable for video.
Wireless. The camera has a built-in wireless function that allows remote focusing and shooting of the camera and viewing what the lens sees via an iPhone app (note: Camera Remote, not the other three Fuji apps on the App Store). It can be somewhat slow. The camera can geotag (allegedly) by picking up WiFi signals. Transfers work well, though it is still far easier to use a WiFi Mobi card. The camera does thoughtfully have a 3Mp down-sample mode for social media. Dumb things that won’t go away. Although we keep hearing the word “Kaizen” in connection with Fuji, heaven help the things that Fuji won’t let go:
- Making people buy the AR-X100 adapter to use 49mm filters. Come on. This is a $5 part that most people buy for $5 from Chinese eBay sellers. And the one Fuji makes ($49) doesn’t really match the black cameras.
- Not allowing the use of flash in continuous shooting, and holding up shooting while slow flashes recharge.
- Not making a small flash that shoots off the lens axis.
- Finishing the shutter release and flash shoe in quick-weaning black paint.
- Leaving the diopter wheel open to the elements. How often is this really adjusted that it needs to be prone to contamination and bumping off the setting.
- Continuing to recess the eye sensor so that it doesn’t work well with sunglasses or eyeglasses.
- Continuing to disaggregate in the menus the selection of composition grids and the setting that actually shows them in the viewfinder.
- Poor strap rings. The new steel inserts are nice, but loop lugs (such as on older Fujis like the GA645) would be better.
Conclusions. The X100T is indeed a serious step up from the X100. Although its sensor is nothing new (and indeed, neither is its lens), the X-Trans sensor gets more out of the lens, and the more sophisticated focusing system in turn gets more out of the X-trans sensor. The general responsiveness boost is welcome, and the improved power options are making it easier to carry this camera about anywhere. Fuji does need to cut the ADD when it comes to changing physical controls.
Children interact poorly with adult cameras. At best, an adult camera is confusing and annoying to a child – and at worst, your expensive camera ends up with impact damage, liquid incursion, or the ever-familiar fingerprint(s) on the nano-coated front element. Unless your child is good at reading menus (and some adults are not), your old point-and-shoot becomes a throwaway. It is highly more likely that your iPhone will become a target.
Santa Claus brought a Fisher-Price W1458 this year. Prior to its unwrapping, we had no idea that something like this existed. In our day, a toy camera was either a 110-style wooden box with a rotating “flashcube,” or at best, a Tomy Snappy Shots that simulated instant pictures – it had six plastic pictures that when wet, revealed pictures. In an odd bow to coater-style Polaroid film, the camera had sponge inside. Children of today fare much better, apparently.
The Fisher-Price is, oddly, a real camera. And by real, one means, “takes digital pictures.” The imager is a SQ Tech SQ907B, a basic VGA (640×400; 0.3 Mp; 100kb files, 1,000 fit in memory) camera that has a fixed-focus f/2,8 meniscus lens (sitting in a very recessed cone, with an entrance pupil that small fingers will have trouble entering). The camera appears to have a sole ISO of 60, a fixed aperture, fixed focus (4 feet to ∞), and shutter speeds running from 1/10 to at least 1/600 sec. For what it is worth, this imager is used in other things, like about 20 other brands of child cameras and some deer-hunting cameras. There are implementations with and without flash, and it appears that Fisher-Price dropped the flash feature (although intuitively, you would think you would want flash, small children could misuse it at close range).
In terms of handling, the camera a solid brick of plastic (as thick as and slightly taller than an Argus C3). The end caps and bottom are rubberized. The viewfinder is an interesting binocular design with the two oculars at about the spacing of a toddler’s eyes, and they are in a projecting binnacle that allows an adult nose to fit underneath (grown-up digital camera manufacturers, note…). The screen is a 1.5″ square LCD. The controls are quite simple: an on/off button, up and down arrows for digital zoom; left and right arrows for navigating past pictures (there is no model “play/review” switch – hitting these triggers playback, and touching the shutter button puts the camera back in shooting mode), a red “X” button for deleting (press twice), and a shutter release. There is close to zero shutter lag (in no small part due to the fact that it does not focus).
In operation, it is simple enough for a child – and the entire reason why this review appears here is to make a point: that user interface is very, very important on consumer cameras, and Fisher-Price has nailed it without going to the absurd lengths of the Leica M typ 60. There is no date setting, no manual ISO, nothing to get in the way of youthful glee. There is, however, a spring-loaded door to protect the mini-USB connector (this camera does not use SD cards, and you have to supply your own USB cable) and a screw-protected battery compartment to load three AA batteries.
As to image quality, let’s put it this way: on an iMac Retina 5K, the thumbnail in Photoshop is pretty close to the same size as the whole picture. With a base ISO of 60, you can expect tons of motion blur – and noise when the light drops too low. But just like consumer digital cameras of the early 2000s, if you can work carefully, it actually works. You can see the digital zoom in one of the pictures. Not pretty. But considering that this a toy designed for children, it does the job. This type of camera may be the next PXL2000 when it comes to the low-fidelity cult.
There is a tasteless joke whose punchline is, “well, we’ve established what kind of girl you are; now we’re just trying to establish the price.” It goes back to a newspaper column by the Hereditary Peer and reformed Canadian Lord Beaverbrook, it is probably fictional in origin, and it has been twisted around in a number of ways. Nevertheless, the quip is a great counterpoint to people who make a point of maintaining their photographic “integrity” by using some “less automated” form of digital.
Every technical aspect of digital photography (or as film snobs would call it, digital imaging) is nontraditional and somewhat automated. Light does not write an image on anything (we have the φωτός part; we have no γραφή). Instead, light hits an electronic sensing surface that translates light into analog measurements automatically, those measurements are converted to numbers automatically, and a computer in the camera bakes those numbers into a RAW image file automatically. That file is in turn transformed into something visible to humans, either in the camera or on a computer – and it is only in this final stage that human control returns, and it is a totally different type of control than chemical development and optical printing. The physics and chemistry of film photography are actually simple compared to the computational power required for digital photography. Put it this way: the oxidation-reduction reactions used in film photography are taught in high-school chemistry; the mathematical transformations needed to convert Bayer sensor measurements into recognizable images are almost graduate-school math. Or to put it bluntly: men went to the moon in vehicles with computers less sophisticated than what we now use to replicate the 1960s Hasselblad film cameras they took.
Functionally, digital imaging is like film photography in that you ultimately get an image on paper — but only similar in the way that a Selectric typewriter and a laser printer can both put crisp Courier text on a piece of white office bond. In both instances, you start with a keyboard and end with clean text, but the intervening operations are completely different. And with photography, both film and digital begin with a using camera and end with a physical image. But nothing in the middle is the same. That makes two things immediately suspect: (1) claims by manufacturers that their digital cameras build on their film competencies; and (2) claims by photographers that people should avoid using some of the possibilities that digital technologies provide. Leica culture is guilty on both counts. The easy part to identify is the design ethos of the digital M line: a digital M is designed to look like a film camera and not like a ground-up digital camera. This is understandable in light of the other part: the hard core of Leica culture thinks like Hesiod: there was a golden age (the M3), a silver age (the M2), and a progression of lesser ages that run up to and include the current product line (iron age is especially appropriate given Leica’s late penchant for stainless steel). Even among apostates who keep buying new Leicas (scribe, prepare the interdict!), technological resistance has historically expressed itself in apologetics. Leica zealots denounced autofocus — or autoexposure, or auto-advance, or digital, or whatever at the time of the denouncement Leica’s R&D budget had not yet allowed Solms/Wetzlar to implement. With autofocus, it was not entirely Pharisaic; even today, the only truly competent AF seems to come from larger, heavier DSLRs. But just as Paleo diets have captured the imagination of some, there is a set of rangefinder users who would like to go back to the days of the Kodak DCS line, when men were men and “chimping” referred to primates at play. Or better yet, they would like to return to the metaphor of the M3.
The Leica „M Edition 60” is simultaneously the fantasy and horror of Leica traditionalists. One group seeks continuity: an ersatz film camera suggests an unbroken line. Where that is not compelling, another craves “simplicity.” And yet others believe that omitting things like a screen would make a camera less expensive. A $20,000 camera package that is no lighter or smaller than a Typ 240 is going to sorely disappoint two out of these three groups. The acrimony is understandable. The remaining group might find suspension of disbelief easier. After all, Byzantine emperors still thought of themselves as Romans.
It is fair to guess that a camera made in an edition of 600 and packaged with white handling gloves will never sully its sensor with photons nor flush it with electrons. If it did, there would be legitimate questions of whether a digital camera, particularly a Leica one, is viable without a LCD screen and shooting only RAW:
- Shooting in DNG (i.e., RAW) is a poor substitute for proper exposure – and the Leica M meter has a tendency to produce results outside an easy adjustment range under a variety of circumstances: sunrise, sunset, flash. If the metering were more sophisticated on this camera, it might provoke less concern. But it’s fair to say that in tricky light, shooting the M architecture blind is not unlike exposing Kodachrome by guess. That, one assumes, is why the Typ 240 has auto-bracketing available.
- Lack of JPG capability can severely cabin on-the-road productivity and completely inhibits the use of Eye-Fi.
- Certain mixed lighting conditions that are relatively invisible to the eye (such as incandescent and daylight in the same frame) are detectable with an LCD, are correctable on-site at the time of shooting, and are extremely difficult to fix afterward.
- It would be a bitter pill to have a malfunction throughout a shoot that ruined the shots and was not detected until it was too late to make corrections. Think: rangefinder misalignment, a spot on the sensor, travel use.
In addition, some normal digital camera functions are completely dependent on the use of an LCD:
- Sensor cleaning is a stab-in-the-dark exercise without being able to look at stopped-down exposures quickly. And in any event, one would lose the dust detection capability of the camera.
- Lens profile selection becomes entirely dependent on Leica 6-bit coding.
- Filename/folder arrangements, formatting SD cards, and other “disk maintenance” functions make it hard to clear space if needed.
- Firmware updates would be difficult to implement.
And then there are some other things (normal features of digital and even many film cameras) that go away with the M Edition 60:
- Strap lugs
- Video (this is explicit)
- Self-timer settings
- Exposure bracketing
- Slow sync controls
- Auto ISO
- Frameline color
- Focus peaking
- Clipping detection
- USB mode controls
- Date/time setting
- User (settings profiles)
- Anything that has to do with JPEG generation (white balance, resolution, compression, film modes, color space)
There is no EVF workaround because the camera lacks an EVF port. So yes, as a digital camera, it is quite limited. These limitations may not have much effect on individuals shooting for pleasure. Theirs is no worse than the experience of shooting film, though the foibles of electronics inject a new element of risk. Photographers working in high-pressure contexts will not use something like this for the same reason they do not use medium format digital cameras: it is not the absolute disadvantage; it is the competitive disadvantage.
Functionality is a non-issue. Though a few perverse people will actually use the M Edition 60 to take pictures (just as one could use a silver dollar as currency), it is far from likely to be common. Leica’s replacement for the M Typ 240/M-P will undoubtedly have more technology, not less, and the superb industrial design of the „M Edition 60” will become a footnote like the M9 Titanium designed by Porsche or the M6J. Features of these special models may reappear (just as the high-magnification finder of the M6J and the LED-lit framelines of the M9 Titanium), but the whole package will not. The terrorists have not won; we can go back to screens and JPGs and video.
Leica, ultimately, wins here. It does not win on profit – a product in this low of a run barely pays for its own tooling. It wins in media exposure. Google “M Edition 60” and you will see that this device has put Leica on Engadget, DPReview, Wired, Forbes, CNET, and Petapixel. This puts the Leica line in front of a lot of people who previously did not know what Leica is – and more importantly, it puts the Leica brand in front of many people with disposable income. Not only does this represent a lot of free advertising for a niche brand, it is also likely aimed at selling more $7,000 M Typ 240s to people who don’t have $20,000 to drop on an M Edition 60 package.
Well played, Leica.