Category Archives: Leica M3

Another Leica Fish Story

BP M3 5414 3I found this recently, posted to a popular online photography forum by someone who knows a lot about cameras and, as best I can tell, isn’t prone to spreading ridiculous stories on the net:

OK, I’ve seen my share of camera bargains. They include an early Nikon One which sold for $12.50 at a yard sale (one of 4 cameras sold for a total of $75), another Nikon One advertised recently on Craig’s list for $375, an unsynced Nikon M four lens outfit thrown away in the trash, and an original chrome Leica MP outfit also thrown away in the trash.

Well, this beats them all hands down and comes from a retired New York City police photographer whose word I trust completely. He writes:

———————————————-

“Back in July 2002, I was leaving my apartment and across the street where my police car was parked a young couple was having a yard sale to help fund their wedding.

I noticed a Black and Tan Nikon duffel bag on the ground near a small table.

I walk over, and they greeted me as their neighbor but didn’t know my name. When I went to pick up the duffle bag, I noticed on the table:
•2 original Black Leica MP’s both with matching black paint Summicron 50/2

•Leica 72 Half Frame Camera

• 2 Black 50/1.2 and 1 Chrome 50/1.2 Noctilux lenses

• a 250 Reporter GG

• 3 Black Paint M3’s with Leicavits and a bunch of other stuff.

They had small round adhesive stickers on everything. The MP’s were selling for $15 each, lenses $10, etc. I added everything up on the table and if I bought everything, it would’ve cost me $115. The young man said:

“If You take everything, just give me $100 even and the bag is on me.

I asked them to give me some history behind those cameras and lenses and the young lady said:

“It was my Dad’s Stuff. He passed away a few years ago. These can look pretty as decor if you’re into photography. No one here is really into it, besides the fact they probably don’t make film for them anymore.”

The Young Man chimed in an said:

“I don’t even know where the film goes”

I requested of the young lady:

“Would you mind fetching me a bed sheet or table cloth if you don’t mind”

She replied:

“Why?”

I replied:

“I want to cover this table while I give my broker a chance to drive up from the city because you probably have between $300,000-$500,000 worth of vintage German Camera equipment and I will stay here with you until he arrives”

The young lady had her hand over her mouth, and about 30 seconds later both of them broke down in tears.

When my photography broker arrived and did his thing, he said:

“You’re a much better man than me because I would’ve walked off with everything…But it’s pretty cool, I suppose it was the right thing to do”

I replied:

“It wasn’t the right thing to do…it was the Human thing to do”

This was a young suburban couple struggling to start a life together. I didn’t even contemplate “Should I or Shouldn’t I”…
They were a young and innocent couple who didn’t know any better. I look at it from a standpoint that I wouldn’t want that done to me.”

A great yarn, no doubt, but could it possibly be true? I guess it could, but I’m betting against it. In any event, if you believe it, I’ve got a bridge I might be willing to part with on very favorable terms.

*************

We’ve all heard the stories over the years – the Leica MP with Leicavit turning up in a dead uncle’s closet, the black paint Nikon SP on craigslist for $15, the guy who buys a black paint M3 at a yard sale in New Jersey along with all the appropriate documents attesting to its authenticity. I suppose these could really have happened just like the story says, but, knowing human nature, I suspect the stories have morphed from an initial kernel of curious truth to the status of “fish story.” [It’s not like I’m not susceptible to the phenomenon – My story of “meeting” HCB does have a kernel of truth: in 2004 I saw him at the opening of a Sarah Moon show in Paris. Of course, as I am apt to tell the story now after a bourbon or two, HCB and Sarah Moon came to my Paris exhibition and then we all went out for coffee afterwards.]

MP 39 2

And it’s not like there aren’t some incredible finds out there if you get lucky. Probably 20 years ago a friend casually mentioned to me that he had a box in his closet filled with old junk cameras from his uncle. I asked him to get it out and show it to me. Upon opening the box I found an M2, an M3, a LTM Nicca, and 4 or 5 Leitz lenses, including a Canadian 35mm Summicron and a Super Angulon with finder. Being the good guy I am, I fought off the urge to offer him $25 for the lot and helped him clean everything up and sell it on Ebay, netting him a cool few thousand bucks and me a free M2 for my labors. And then there’s been an item or two bought from ignorant sellers in arms length transactions that have netted some seriously nice kit for bargain prices – a IIIg with a W-Nikkor 35mm 1.8 LTM lens I bought for a few hundred and then turned around and sold for $2500 ($1900 for the Nikkor, $600 for the IIIg); a IIIg with pristine collapsible Summicron for a few hundred, etc.

But there’s something about the reported event that doesn’t pass the smell test. First, how is it that the “Dad” just happens to accumulate an incredible amount of rare, collectible stuff, it and it only? You’d think there’d have to be a few pedestrian items too, a Canonet or a Minolta SRT-101 in there somewhere. Three Noctilux? Really? And think of it this way – if “Dad” really was as important a guy as his camera collection indicates, don’t you think his kids might have some sense that what he had was valuable? But the kicker for me, the “tell” as it were, is in the inconsequential details (isn’t it always?): “they probably don’t make film for them anymore….” Sounds like a reasonsble thing for a clueless kid raised in digital to say in 2016, but in 2002? In 2002 film cameras were normal; it was digital that was esoteric.

So, In spite of my sense that the original poster honestly believes the story, I’m calling BS. It is, however, a lovely fish story.

Oh, and did I ever tell you about the time HCB and Sarah Moon came to my show in Paris?

Leica Announces New Digital M3D: “Back to Our Roots”

111Mike Evans tries out the new M3D on a crisp April morning in Bad Wolkenkuckucksheim (Photo: George James, Leica M-P and 50mm Apo-Summicron)

An M3 with a digital back: This has been the holy grail of Leica M photographers ever since the relatively bulky M8 was announced in September 2006. Why can’t we keep the size and weight of the film camera but have the advantage of digital, they wondered. Now they can have the best of both worlds.

Leica has today met this demand from a vocal majority with the announcement of the Leica M3D, a camera that has identical appearance, dimensions and weight to the first M, the M3, but with a digital sensor replacing the film plane. It was shown to the press this morning in the popular spa resort of Bad Wolkenkuckucksheim near Wetzlar.

Advance lever

The M3D offers the very essence of digital photography combined with the simplicity of film shooting. The only adjustments possible on the M3D are aperture, shutter speed and ISO. Even the ISO is not automatic, it has to be selected manually by means of a central dial on the back of the camera where other digitals would have a screen.

In a nod to tradition, the M3D even sports a film advance lever, just like the original M3. You have to advance this after every shot to re-cock the shutter and remind yourself that you are shooting digital film.

The M3D is similar to the M7 film camera in operation. It will accept any M lens and will be welcomed by rangefinder enthusiasts who have become frustrated by digital bloat and the emphasis on in-camera processing that epitomises most cameras on the market these days. Surprisingly, in view of the retro feature set, the M3D offers an auto shutter speed setting similar to that found on newer digital M cameras and on the still-current M7 film camera. This enables aperture priority shooting which is what most rangefinder photographers prefer.

RAW only

The Leica M3D is one handsome camera and serves to consolidate Leica’s new-found willingness to return to the purity of the rangefinder. The first step in this direction was the stripped-feature M262 but even that did not go as far as to dispense with the screen, nor with many of the processing options and buttons that go with jpg shooting. From now on it’s RAW only and that is how most rangefinder fans like it.

Speaking at this morning’s press conference, Leica CEO Hektor Barnack said that the M3D represents the epitome of the rangefinder experience. “This is das indubitable Wesentliche”, he told journalists: “This is the camera rangefinder enthusiasts have been waiting for. No screen to chimp on, no buttons to press in error while handling the camera, no menus to distract or confuse. It’s a pure, film experience but without the cost of developing and scanning. It is, not to overemphasise the point, back to our roots.”

Stripped down

“Now we have catered for the techno modernist market with the outstanding Leica SL, we feel confident in stripping down the M even further. No longer does the M have to address every facet of the market. For all those photographers who still carry around our film cameras, including the M3, the M3D is likely to be a very compelling alternative.”

I have to say that ever since I tried the all-steel M60 edition, which turns out to be a rather heavyweight progenitor of the M3D, I have been convinced there is a need for a stripped down digital. By offering the film experience but without the film, the M3D is an economical alternative to an older film camera. I for one will not miss the high cost of processing and scanning.

The Leica M3D will be with dealers by the end of May and will cost £3,600 in Britain (including VAT) the same price as the film M7 or the MP.

*This is a reprint of the original scoop, first reported on Macfilos.com by Mike Evans on April 1, 2016. Editor’s Note: Macfilos is a great blog with a lot of interesting content. Check it out.

Buying A Leica M? A Guide for Users Not Fondlers

m2 m3

Want Chrome? Buy an M2/3/4. Black versions are stupid expensive, plus, in spite of what Lenny Kravitz says, they usually look like shit. An iconic M should be chrome.

Want Black? Buy an M5 or M6. Ironically, chrome versions of the M5 and M6 will run you more because they are rarer. Both the M5 and M6 black versions are black chrome, unlike the M2/3/4, which are black paint (with the exception of some later black chrome M4s), and don’t suffer from “brassing”, which is the single dumbest affectation heretofor conjured up by Leica fanatics.

 
Want to avoid the herd? Buy an M5. It has a meter, and it’s a better camera than the metered M6. Better ergos, better meter, cheaper, shows you’re serious about your Leicas and don’t give a damn what Leica snobs think.

M5

Want one iconic M body? Buy the M4. Best Leica M ever. It’s better than the M3 because it accommodates a 35mm lens without an external finder, and it’s better than an M2 because it’s easier to load and has a better film rewind. I might argue that the M5 is an even better camera, but, admittedly, the styling of the M5 is not “iconic.”

Leica MR4 2

Want to be like every other dentist who’s got bitten by the Leica bug? Buy an M6.

Avoid the M4-2 and the M4-P. The original “Dentist Leicas.” Leitz produced them as cost-cutting versions of the M4 after the M5 failed to sell in sufficient numbers. These days, they’re as expensive as a comparable condition M4. Buy the M4. It’s a better camera, has better fit and finish, has an ingraved top plate while the M4-2 and P have a cheesy Leica logo painted on the top plate. As if the forgoing isn’t enough, the M4-P comes with a hideous red dot affixed to its front.

Avoid the M7. It really isn’t an M. Seriously. It replaced the sublime sound and feel of the traditional M shutter with the metalic clacking of its battery driven electronic shutter. How incredibly gauche. If you really think you need Aperture Priority Automation and a pocket full of battery power (you don’t), get a Hexar RF for a fourth of the price, because the Hexar is the better camera, and frankly, you’re not a real leicaphile to begin with.

Don’t worry about cosmetics. Ironically, most beat up users function much better than “Minty” collectors grade because they’ve been used and kept in spec via use. Nothing is cooler than a Leica that shows that it’s been well-used instead of sitting on a shelf somewhere.

Forget about a CLA’d camera. Just buy one that works; get it CLA’d if and when you need it. Stop worrying if your 1/8th shutter speed sounds slightly off. Only collectors and fondlers give a shit about irrelevant things like that. Just use the damn thing and enjoy it.

Look for bright viewfinders with bright rangefinder patches.

Make sure the shutter curtains aren’t whacked.

To Summarize: If you want a non-metered M, buy an M4, chrome or black chrome as you prefer. If you want a metered M, buy a black chrome M5. If you absolutely need AE (you don’t) to use with M mount optics, don’t buy an M7; buy a Hexar RF and use the money you’ve saved to buy 400 rolls of HP5. Whatever you buy, don’t buy something that looks like its been sitting on a collector’s shelf. It’s probably not going to work as well as your basic beater that’s been used, and you’re going to overpay for the privilege of doing so. In my mind, you simply can’t get any better than a beat up, well used chrome M4. In addition to the pleasure of owning and using an iconic photographic tool, you’ll get some serious street cred from real Leicaphiles as opposed to the status conscious wannabees toting their latest digital Leica swag.

A Quick Ebay Tutorial on Leica M Cameras

Buying a Leica on Ebay can be a frustrating experience. Finding a “Minty” M can be hit or miss at best, and knowing the subtle differences between M models can be daunting. Ebay wants to make it easier on us, publishing a helpful “Product Description” for older models. Below are the actual Ebay product descriptions for Leica M film cameras:

1961-M2-2

Leica M2: Ideal for Sports Photography

“A compact rangefinder film camera, the Leica M2 (camera body only) lets you capture the beautiful moments of your life, even when you’re on the go. This Leica film camera has a manual focusing system that lets you capture sharp and bright pictures. With manual exposure control modes, this rangefinder film camera lets you take snaps just the way you want. Featuring shutter speeds from 1 sec to 1/1000th and B, this Leica film camera can click good quality images of moving subjects, making it ideal for sports photography. The Leica M2 (camera body only) also features a self-timer, to make sure you get in a few snaps of yourself!”

 

 

Summicron w m3

Leica M3: Leica’s First Camera With TTL Metering

“Compose your shots accurately with the Leica M3 camera, which combines a rangefinder and viewfinder in one. The large and bright viewfinder of this 35 mm rangefinder camera has a magnification of 0.91x, giving you a wide coverage of the scene. With shutter speeds from 1-1/1,000 seconds, this Leica film camera lets you clearly capture moving subjects. The Leica M3 35 mm rangefinder camera uses interchangeable lenses, providing the flexibility to shoot various scenes. Featuring TTL metering, which measures light using a built-in meter, this Leica film camera eliminates the need for a separate, hand-held meter.”

 

 

Leica MR4 2

Leica M4: A Chameleon of a Camera

“The Leica M4 is a classic rangefinder film camera that exhibits the excellence in craftsmanship of the Leica M series. This Leica 35 mm film camera is equipped with a rangefinder, so the images you get are sharply focused. The body of the rangefinder film camera is made of metal casting, designed to perform well even in tough conditions. The Leica M4, being a chameleon of a camera, can be used for different kinds of photography. Additional reasons that make this classic Leica 35 mm film camera a must-buy are the fast film loading, quick rewinding, and the self-resetting film counter.”

 

 

M5

Leica M5: A Sleek Point and Shoot Autofocus Camera

“The Leica M5 is a sleek point and shoot camera that captures excellent shots with every click. This 35mm film camera boasts tough construction with precision handling. The Leica M5 has fast shutter speed of 1/2 to 1/1000 sec that ensures quick and accurate shots. This autofocus camera is a mechanical camera with innovative and new features like a TTL meter, stylish and ergonomic square body, base plate fitted with rewind crank which together make this 35mm film camera user friendly. The Leica M5 has a view finder that displays the shutter speed and meter read. It also features a shutter speed dial that is present on the front of the camera. The shutter of this autofocus camera winds smoothly and silently.”

 

 

m6-black

Leica M6: A Highly User-Friendly Device for Bright Images

“Enhance your photography skills with the Leica M6 camera, offering focused photography with manual operation. The 1 – 1/1000sec shutter speed, this Leica 35mm film camera can easily capture fast moving objects. The 0.72 and 0.85 viewfinder versions of this Leica rangefinder camera complement the 35mm frame line, so that you click bright images. The battery used in the Leica M6 camera only controls the internal light meter for capturing bright pictures. This Leica 35mm film camera has the TTL light metering mode that controls the amount of light emitted by the flash, producing consistent images in all light conditions. The mechanics used in this Leica rangefinder camera makes it’s a highly user-friendly device.”

 

 

LEICA-M7,-silver-chrome-Order-no.-10504_teaser-1200x800

Leica M7: Finally! Built-In Flash

“The Leica M7 0.85 is a stylish and compact 35 mm rangefinder film camera, that is ideal to carry anywhere. The fast, easy manual focus system of this Leica film camera allows you to focus the lens by hand. With a Leica camera flash sync of up to 1/50th of a second, this 35 mm rangefinder film camera allows you to capture high speed images. Additionally, this Leica film camera has an on/off switch that prevents your battery from draining when not in use. What’s more, you can even shoot in low-light conditions, thanks to the built-in flash of the Leica M7 0.85.”

To Summarize: if you’re shooting sports, the M2 is the way to go. If you want that vintage feel with TTL metering, the M3 (You’ll get the added bonus of “wide coverage” with the M3 finder). Need Autofocus? The M5 is for you. Built in flash? Get the M7. Which leave us with the M4 and M6, whose “improvements,” if any, seem to be more hype than substance.

 

Leitz, Zeiss, Nikon and The Genesis of High-Speed 35mm Photography

8476219959_7d57c359e5_bWhen Oskar Barnack built the first 35mm film camera, the “Ur-Leica” in 1923, he fitted it with a 5cm f/3.5 Elmax Anastigmat. When the Leica I went into full production a two years later, Leitz fitted it with the same lens but modified it with two as opposed to three cemented elements, and renamed it the “Elmar.”  The f/3.5 Elmar is a very sharp lens, even opened up, and helped establish Leica’s reputation for fine optics. There are claims that Leitz had the capabilities to produce an f/2 50mm at this time, but chose not to to insure they offered the finest quality optics for their fledgling 35mm camera system.

For years Leica trailed Zeiss, the acknowledged leader in optical design, in producing high-speed lenses. Already in 1928,  Zeiss had released the 50/1.5 Sonnar, a 7-element modified triple with only 6 air-glass surfaces (in an era of uncoated lenses, each uncoated surface reduced light transmission by about 15%, which was why fast lenses were so difficult to produce before the advent of lens coating). In the late 30’s Zeiss introduced vacuum fluoro-coating to the Sonnar, creating the Sonnar T. Starting in 1930, Leitz offered as an alternative to the Elmar it’s first “high-speed” 50, a 5cm f/2.5 Hektor. Shortly thereafter, in 1933, Leitz introduced a 5cm f/2 Summar, a modified Zeiss Planar design which they subsequently improved upon and reintroduced in 1939 as the Summitar. Max Berek, who designed most of the lenses for Leica in the 1930’s, explained that the reason Leitz had not used their own design for their original high-speed 50 was they had wanted to be certain their original offerings met a high standard so as to insure the success of the Leica 35mm camera, and they did not then have the optical expertise to design a clean sheet high speed lens and so chose to borrow Zeiss’s proven Planar design.

Leica produced their first high-speed 50mm in 1936 with the introduction of the Leitz Xenon, an uncoated seven element double Gauss type with ten surfaces  (the rear element was split in two). While there is some evidence to support Leica’s claim that the Xenon was a Leitz creation, for patent reasons Leitz sublicensed the design from Schneider, who had themselves licensed the patent design from Taylor, Taylor Hobson (TTH) in Great Britain, agreeing to use Zeiss’s “Xenon” designation for the lens. In the 1949, Leitz began fluoro-coating the Xenon and renamed it the Summarit (however the US Patent still had a few years to run, so you’ll find some early Summarits still carrying the US Patent number). Lens coating, developed in Germany during the war, made a tremendous improvement on the uncoated Xenon, increasing contrast and reducing flare.  After the war, Leitz also offered a service to coat existing pre-war lenses, but would not coat the front element because their coating was not sufficiently robust to resist damage with normal cleaning.

While some claim that it was the introduction of fluoro-coating that revolutionized Leitz optics, in reality it was Leitz’s post-war decision to open their own glass research facility in order to reduce their dependence on third parties. But Zeiss remained the leader in high-speed lens design and production into the 60s. While Leitz was busy playing catch-up to Zeiss’s recognized high-speed technical dominance, Japanese camera makers – Nikon and Canon – each started offering versions of the 50/1.5 Sonnar, the 50/1.5 Nikkor, and the 50/1.5 Canon. In 1951 Nikon recomputed the 50/1.5 into the 50/1.4 and set in motion the beginnings of a tectonic shift in public perception and professional acceptance of Japanese optics, a design and manufacturing contest between the German and Japanese producers that continues to this day.

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David Douglas Duncan introduced the world to high quality Japanese lenses. Duncan used a Nikkor-SC 5cm F1.5 and Nikkor-QC 13.5cm F4 on his Leica IIIc for most of his photographs taken in Korea. Other photographers took note of the quality of Duncan’s images and word spread about the quality of the Nikkor lenses.

In their December 10, 1950 edition, the New York Times noted the emergence of Nikkor optics amongst professional photographers: “The first postwar camera to attract serious attention in America has caused a sensation among magazine and press photographers following the report by Life magazine photographers in Korea that a Japanese 35mm camera and its lenses had proven superior to the German cameras they had been using. The lenses, which include a full range of focal lengths, give a higher accuracy rating than lenses available for German miniatures.” The article quoted “camera expert” Mitch Bogdanovitch  that the Nikkor lenses “are of excellent color correction and perform better at full apertures than do Zeiss lenses.” The President of Carl Zeiss, Inc. USA, subsequently threatened to stop advertising in The Times. The Times ultimately allowed Zeiss to run a statement that the “Zeiss lenses being tested were not true Zeiss lenses.”  This was most likely accurate. After World War II, much of the Zeiss machinery that was used to produce precision optics was shipped back to Russia as war reparations. Wholesale lots of optics, optical glass, lens parts, and fixtures were shipped to Russia where they were completed at the KMZ factory. ZK used Zeiss parts for their 5cm F1.5 Sonnars and 5cm F1.5 Jupiter-3’s through the early 1950s.

The iconic Nikkor-SC 5cm F1.5 remains one of the most obscure of the vintage Nikkors. Nikon originally developed the 5cm F1.5 for use on the Hansa Canon. Two batches of lenses were produced, the “905” batch in May 1949 and the “907” batch in July 1949. After the war, when Nikon needed a super-speed lens to compete with Zeiss and Leitz, Nikon used the 5cm F1.5 as the basis for their now venerable 50mm f1,4. Fewer than 800 1.5 Nikkors were made, about 300 in Leica mount and 500 in S-Mount, before Nikon replaced the F1.5 with the Nikkor-SC 5cm F1.4 the following year.

5cm 1.5

The Nikkor-SC 5cm F1.5 is a Sonnar with seven elements in three groups, although a unique formulation. The Nikkor is made to the Leica 51.6mm focal length standard, and is constructed using different optical glass than the Zeiss optic. The focus mount is an all-brass rigid mount, finished in chrome, and has a close-focus of 18”. It is the first Nikkor lens to feature the close-focus capability, followed by the 5cm F1.4 and rigid-mount 5cm F2. The optical surfaces are all hard-coated. The aperture mechanism does not employ click-stops, while the subsequent F1.4  and rigid F2 lenses of 1950 feature click-stops.

“True” Zeiss lenses in Leica mount were manufactured during the war in small numbers. The 5cm F1.5 Sonnar “T” made during the war used a “recomputed” optical formula that improved performance compared with the pre-war lenses. The wartime Leica mount Zeiss lenses are not as well made as the Nikkor lenses used by Duncan in Korea. The choice of available materials for the fixtures and focus mount was poor, with lighter, less robust metal alloys used. The design of the Zeiss focus mount for the Leica camera was not well thought out; as an example a set screw through the focus ring serves as the focus stop. Zeiss lenses of the period that saw heavy use often fell out of RF calibration, with the sleeves and helical loosening-up,  making the lens unusable.

In post WW2 Germany, Zeiss produced their lenses with what remained behind. Post-war Leica mount “Carl Zeiss Jena” Sonnars can be found that are not in the “official records”, and often have a “one-off” quality about them. These lenses were probably machined using mostly hand-made tools, sometimes were missing parts, and had sub-standard finish on the optics and mechanical fixtures. These lenses were used with many post-war Leica cameras, many bought by serviceman in Occupied Germany. A post-war era Zeiss lens in perfect condition would probably not have withstood the combat conditions faced by Korean era war photographers.

Nikon optimized their post-war rangefinder optics for wide-open use, and the 5cm F1.5 is no exception. Zeiss optimized their lenses for stopped down use and perform best at F2.8. Leitz optimized their lenses for mid-aperture usage, as does Leica even today. Zeiss did not start optimizing their Sonnars for wide-open use until recently.

 

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nikon_nikkor_f1.4_50mm_2

The 50 f1.4 Nikkor S is the lens most responsible for making Nikon’s reputation in the early 1950s. It was a leap ahead of Zeiss, and certainly, Leitz, in high-speed lens quality. Nikon introduced the Nikkor S-C 5cm f/1.4 in 1951 at a List price of approximately  $1,700 in today’s money. First versions were marked “NIKKOR-S C” to denote that the lens was coated. The “C” was dropped in 1957.  In 1962, Nikon introduced a longer version with different optics, engraved “50mm” instead of “5cm”, referred to as the Olympic version. Nikon again re-made the larger 50mm lens in 2000 as part of the S3 Millennial set.

Ive always been impressed by the old Nikkor LTM lenses. The 50 f2 and the 35 f1.8 are particularly good vintage users. The 50 has a beautiful classic look, sharp and contrary even wide open. They are plentiful today because so many of them were made for use with amateur cameras (Tower, Nicca). And they are inexpensive – excellent examples can be found for between 200-300$. The 35mm 1.8 LTM is another story, carrying prices of 1700-2500$ depending on the condition. Both of these vintage Nikkors have aged better than similar offerings from Leitz given their harder front coatings.

aaaaaa-5029

There also exist a number of Nikkors in Nikon S mount, that heretofore were limited in use to the Nikon S rangefinder series. A beautiful camera, no doubt, but it has its limitations – specifically a rangefinder patch that’s very hard to read except with high contrast edges. The Nikkor S lenses themselves are uniformly excellent.

In 2000, Nikon made the decision to reproduce the S3 with an updated version of the Nikkor 50 1.4 (the “Millennial”).  In 2005, they reproduced the SP coupled with an updated Nikkor 35 1.8. Almost all were snapped up by collectors assuming that the prices would appreciate with time. For whatever reason, prices of new, unused kits have currently depreciated by 75%, with early speculators selling S3 kits they bought for $6000 for less than $2000. I recently bought a brand new chrome S3 kit from Japan for $1550.

Throw into the mix the 50 Millennial and the 35 SP remakes with modern multi-coating and the rangefinder Nikkors make an excellent alternative to the uber-expensive Leica offerings.

The irony of the S3 Millenial is that its starting to become popular again because of the lens, not the camera. You can chalk that up to the Amedeo Adaptor. Now, thanks to an enterprising gentleman in Argentina who produces a Nikon S to Leica M adaptor as a labor of love, you can use your S mount lenses on your Leica M, rangefinder coupled, with his Amedeo adaptor. And the adaptor is nothing like the plethora of cheap Chinese adaptors recently appeared on the market allowing use of various lens mounts on mirrorless cameras. The first thing you notice about the Amedeo adaptor is how well-made and tightly toleranced it is. It looks and feels like something that should have the Leica name attached to it. Its focus throw is smooth and firm, and it locks into the M mount with a pronounced click. Extremely nice.

amedeo adaptor 2

Which leaves us Leicaphiles with wonderful new options for the use of Nikkor S lenses on our M’s. For less than 2k you can buy an unused S3 body with 50 1.4 attached, buy an Amedeo adaptor for $275 and have a 50 1.4 prime lens for your M every bit as sharp and well built as the $5000 Summilux Aspherical. You’ll also have a new Nikon S3 body you can slap a new VC 50 2.5 S on (approx $250-300) and use as a second rig. The S3, itself a worthy competitor to the M3, is, in my opinion, worth the $2000 price alone, as you’re getting the functional equivalent of a brand new M3 throw in “free of charge” when you buy the set for the Millennial Nikkor 50 1.4. And, having not had to spread for the $5000 Summilux, you’ll have almost $3000 in change left over.

amedeoAmedeo Adaptor