Custom designed Leica cameras from the Japan Camera Hunter.
Custom designed Leica cameras from the Japan Camera Hunter.
Leica has just announced three “New” [read: make some cosmetic changes to an existing lens and run it as a limited edition while jacking up the price to reflect its scarcity] lenses. First is a black-chrome Leica APO-Summicron-M 50mm f/2 ASPH, (shown above), made to resemble the classic Type 2 lens from the 1950s with the scalloped focus ring, all brass hood and cap, edition of 700, priced $1,600 dollars more than the standard 50mm f2 ASPH.
To put this in perspective, you can buy 4 copies of the 50mm 1.1 7Artisans lens in M Mount, give 3 of them away as gifts, keep the remainder and then also buy the standard Leica 50mm f2 ASPH, all for the same price as this lens.
Next is the Leica Summaron-M 28mm f/5.6 in matte black paint with matching hood, edition of 500, $400 more than the silver version.
Finally, the Leica Summilux-M 28mm f/1.4 ASPH. in silver, edition of 300, an extra $400 more than the black version.
Zagato is an independent automobile design company and total design center located northwest of Milan, Italy. Apparently they’ve been hired by Leica to create a limited edition M10, price approximately $26,000.
My question is this: what is the Zagato M10’s purpose? Who is it being made for? To do what with? I’d feel vaguely foolish carrying one about for regular use and I don’t care who designs it, or what its made of – it’s an M10 with non-functional design cues added to appeal to people who know the Zagato name. I’m not sure what car designers, even the best, can add to a photographic device, and the filmed advertisement for it above never articulates an answer to this obvious question. So, the motive behind the camera appears to be pure, vulgar ostentation. Why, when you could easily do so much better?
In any event, regardless of who it’s designed by, it’s not half as cool as a nice, well-used IIIg with Leicavit, which isn’t merely a beautiful design, but was designed as a working camera by designers who were also photographers, functionality always being the best design principle. That’s what the current people running Leica seem not to understand: the timeless designs of the iconic Leica Film rangefinders were a result of functional decisions. Now, design decisions seem to be about bling.
As for collector value, I wouldn’t put money on any digital device having long-term value as a collector’s piece, given it’s not a mechanical device but an electronic computer with all the inherent obsolescense problems associated therewith.
Instead of projects like this – designed by luxury car designers or inspired by rock stars – you’d think someone at Leica would think back to Leica’s history and proudly work from there. Is that too much to ask, Leica? Instead of these pointless vanity pieces, why not play to your strengths and your history and design a new all mechanical film camera, you know, the kind that made you famous. Yes, there’s still a market for serious film photography, certainly a larger market than that of the Zagato M10, and it seems to me you’re the obvious company to exploit it. How about this: stress minimalism – a 35mm rangefinder w/o meter, simple mechanical shutter, manual focus M-mount with capability to use the full range of Leitz optics. Give it an updated body design, not something radical but an evolution of the LTM and/or M models and their timeless designs. Make sure it has an engraved top plate. Please do not put a red dot on it, or a dot of any color. Hand assemble it, just like the IIIg and M3. Price it fairly for both leicaphiles and Leica AG. Don’t do something stupid like giving every buyer a roll of Tri-X to sweeten the deal. Do not put someone’s name on it. In other words, act like the proud company you once were. I’m pretty sure a sufficient number of people would line up to buy it. Or, if that’s too ambitious, why not make a new run of M3’s, much like Nikon did with the S3 and SP in the early naughts…not a replica, but an actual M3 indistinguisable from the ones you made through 1966? I assume you’ve got the tooling to do it. Make some in black paint. Offer it with a Leicavit. Call it the M3R. Leicaphiles will go nuts.
Whichever of the two options you choose, you’ll be trading on the Leica name in a way that honors your history in a serious way and shows some basic understanding of why the Leica name means so much to so many in spite of your heretofore short-sighted vulgarization of the brand. You’d make a lot of us really proud, you’d make a huge splash in the camera world, you’d bolster your flagging reputation with serious photographers, and you’d probably sell a few cameras. And you wouldn’t have to pay some famous designer to do it.
Luxury Camera Bags and Luxury Bespoke Suitcases for World Travelers
by Thorsten von Overgaard
You want the ideal product that fulfills all of your needs, made to make you happy every time you touch it, and made to last forever
Thorsten von Overgaard travel [sic] to more than 25 countires a year and live [sic] his life in a suitcase. Every bag is put to maximum use.
Thorsten von Overgaard and Matteo Perin joined forces to design luxury travel bags for people who appreciate the best and demands durability for a lifetime.
Thorsten von Overgaard [he’s added the “von” recently – “von” traditionally denoting aristocracy***] has transitioned into the luxury camera bag business. Apparently, when Goyard in Paris wouldn’t fix Thorsten’s Goyard Aplin backpack, damaged while travelling to his Royal Mongolian yurt, Overgaard decided to make his own bags. To do so, he sought “the best artisans […] using best possible materials, based on many years of experience, resulting in a product that could last for generations.” The end result is him “joining forces” with some fellow Scientologist meatball named Matteo Perin to produce crocodile and elephant skin bags. Who he’s partnered with to shoot the elephants to skin for the bespoke bags is not clear. Perin claims he “makes trunks, blankets and all the luxury items you can think of, for private airplanes, villas, cars and yachts.” Right.
It’s always been obvious to me that “von Overgaard” is a transparent huckster, a confidence man preying on gullible low-hanging fruit, spinning some bullshit narrative about luxury and beautiful people and world travels and Leica, this just being further proof that a sucker is born every minute and some of those suckers will end up buying a Leica and taking a street shooter’s seminar with “von Overgaard.”
…is up for sale by some guy on Ebay. 70K. Rest assured, it’s legit. Ms. Earhart was kind enough to sign some paperwork saying it’s her’s before she boarded her plane (the paperwork “almost like new”):
Im selling Amelia Earharts camera which was gifted by her to a family memeber in 1933 after returning back from a trip to Chicago with her Husband.
The camera has been in my family possesion since that time and has been in long term storage, the camera appears to be working correctly.
The hand signed card was personally signed by Amelia and given to my Grandfather along with the camera by Amelia Earhart back in 1933 in Rye New York
Everything is authentic , Ive known this camera all my life
the signed card is almost like new as it has been stored carefully
will post world wide
I would like the camera to go to a museum if possible.
Please note I have absolutley nothing to prove that this was in fact Miss Earharts Camera and research would need to be done to confirm such, I have absolutely no idea how to do that myself. From memory over 40 years ago my Father told me that she found it fidly to load, Miss Earhart may have studied Photography , my Grandfather had said as much and described her as a keen photographer , she preffered a Kodak folding camera as I recall being told a very long time ago. she was also described as very nice and down to earth,
Could be true, I guess, although it reeks of the typical “Third Man Camera” scam. Apparently, the same camera had previously been up for auction last year in Glasgow with a similar story:
A RARE camera which belonged to American aviation pioneer Amelia Earhart is to go under the hammer in Glasgow.The pilot’s prized possession will be just one of a collection of vintage and modern cameras to go on sale this month.
Around 120 lots belonging to photography enthusiast Ian Macdonald, from East Ayrshire, are to be auctioned off by McTear’s Auctioneers on March 24.The jewel in the crown is a Leica 1, which was gifted to Amelia Earhart by her husband George P Putnam.The black paint camera, which was made in 1929, is thought to have been given to Ian’s grandfather Wullie Macdonald when he worked for a cleaning firm that collected laundry from hotels and homes in New York.One of his jobs was to collect clothing from Earhart’s house in Rye and during a visiting in 1933, he commented on the aviator’s camera.
Earhart, who was the first women to fly solo across the Atlantic, told Wullie she preferred to use another model and gifted to him along with a signed card.It is expected to reach between £10,000 and £15,000 and includes a leather carry case, lens cap, range finder, two reloadable film cassettes and holder.
Ian said: “The story behind this camera is fascinating and of all the ones I own it definitely evokes the most emotion as it’s been in my family for so long.”My grandfather began the collection, then my father continued it until it was eventually passed down to me.”Over the years I’ve added to it but I feel now is the right time to sell and allow others to get enjoyment from these great cameras.”
“A Leica camera and accessories that once belonged to pioneering pilot Amelia Earhart, which is among a collection of Leicas, prototypes and other cameras due to be auctioned this month by McTear’s Auctioneers, Glasgow”
I don’t discount the possibility that the story is true and this was Amelia Earhart’s Leica, but my sense is it’s another half-baked scam designed to fool some hapless collector with more money than sense. You just need one, and God knows they’re plentiful in Leica land. However, if you’re going to command a $69,500 premium for the camera based on that claim, you’d better have the proof locked down. In this instance, the “proof” is his word based on a tall tale Grandpa Wullie told him and a signed note alleged to be from Ms. Earhart. While living in Los Angeles in 1923, Earhart did work in a photography studio; and she and a friend later briefly operated their own photography business. But there seems to be nothing in the historical record indicating Earhart used a Leica; on the contrary, all evidence points to the fact that she used a Kodak folding camera (the seller has cleverly noted the same in his auction). There’s also another guy claiming he owns Amelia Earhart’s camera).
It’s usually the specificity of the story which raises the red flags – the fact that the camera was special ordered by a Busby Catenach of Wawatusa, Wisconsin; or the father’s notes indicating some crucial fact, contained in a letter dated 1946 complete with return address and zip code (US zip codes weren’t used until 1963); or, in this case, the claim that the camera “is thought to have been given” to Amelia in 1933 and then by Ms. Earhart to grandpa in the same year because she found it “fidly to use” whereupon in went into his collector’s vault along with the signed note – yet the camera looks very well-used, presumably by Ms. Earhart.
And who the hell just gives an expensive Leica with all the extra goodies – given to you, no less, by your husband as a present – to the laundry man when he asks about it? Think of all the potential universes out there, and tell me with a straight face you can see that happening in one of them. [ Laundry Guy: “Nice Leica, Ms. Earhart!” Amelia Earhart: “Yeah, it’s a beauty. George gave it to me for my birthday. He’s such a dreamboat, that George. How thoughtful of him! Want it?” Laundry Guy: “You mean, like for nothing?!?” Amelia Earhart: “Yup. And, while we’re at at, allow me to sign a card for you proving it’s from me. Maybe it’ll help you sell it for scads of money someday after I get lost at sea!” Laundry Guy: “Gee. Thank you, Ms. Earhart!” Amelia Earhart: “No problem…and Wullie? Make sure there’s extra starch in Georgie’s shirts”.]
And don’t get me started on the signed note: it simply looks too good, all shiny and new, and in a plastic sleeve no less, a sleeve which wouldn’t conceivably be commercially available until the 80’s, and darn, doesn’t that note fit all nice and snug in that plastic sleeve.
In other words, if Mr. Ian MacDonald thinks he’s on the level (and he may), it sure appears Grandpa Wullie’s been telling him one heck of a story. And if you’d “like to see the camera go to a museum,” then ring up a museum instead of hawking it on Ebay. Just a thought. At least he’s considerate enough to wear white gloves when he uses the thing.
Leica has just announced a new Monochrom, designed by a “fashion designer.” Yup. The Leica M Monochrom special “Stealth Edition” is designed by Marcus Wainwright, founder and owner of “rag & bone”, a hipster joint in Chicago featuring “wildly flattering jeans, flowy [sic] dresses, cult-status booties, and general urban, monochromatic vibe” with “the simplicity of the ’90s played into some of the collection’s more delicate pieces like the slip dresses and lace separates and the Mary Jane shoes.” According the Wainwright, in addition to the Mary Jane shoes they’ve got “a lot of cool styles, from heavily quilted leather parkas to camel hair overcoats.” Apparently, the guys at Wetzlar feel this qualifies him to design a Leica that “glows in the dark:’
Marcus Wainwright’s design concept is the individual perfection of existing icons. In the case of the M Monochrom “Stealth Edition,” this means taking the discreet unobtrusiveness of the camera to the extreme. A special scratch-resistant, matte paint is used to make the surface finish as black as possible. Accompanying it in matching jet-black, the leather trim of the camera is made from an extremely smooth full-grain cowhide that also offers excellent grip.As a striking visual counterpoint, the most important engravings on the camera and lens are intentionally highlighted with a special fluorescent paint that glows in the dark. This enables faster setting of the aperture or focusing of the lens in low-light situations. The set includes a comfortable black fabric carrying strap, a metal front cap for the lens, and a certificate of authenticity. The edition is strictly limited to only 125 camera sets for the worldwide market, each of which bears a special serial number.The word “Stealth” describes the extremely discreet appearance of the camera, which is essentially characterized by its matte black paint finish, black leather trim, and the omission of color for all “unnecessary” details.
Marcus Wainwright and Leica – a perfect match.
Wainwright is also a dedicated Leica photographer who shoots with various Leica cameras, often in black and white using his M6.
Make of this what you will.
If so, you’re in business. Somebody is selling one on Ebay as we speak, only $225 and another $25 to ship it straight to your door. Comes with a nice little leather pouch too. Whether the pouch is sacred is not clear.
Speaking of interesting things on Ebay, there’s a “Leica Rangefinder 1934 Black And Chrome Camera with Keith Elma’s 1:35 F=50mm” currently for sale as well. Who Keith Elma is isn’t explained either.
Leica reviews, even the good ones, tend to be built on an edifice of words, given the ineffability of the subtle enjoyments Leica mechanical cameras have [legitimately] provided discerning lovers of photographic craft. We love our M3’s and M6’s, not because of their technical specifications but because of the ways they provide a unique enjoyment of the fundamentals of the craft of photography, that enjoyment being ergonomic, functional, aesthetic, all subjective things difficult to quantify. Even way back when, reviews of traditional mechanical film Leicas tended to have a poetic quality missing in more pedestrian camera brands because, frankly, the elusive, yet tangible characteristics that set them apart from other cameras were found at the margins of descriptive language, best described via emotional response and metaphor (hence the “buttery-smooth” description of an M’s wind-on. I’ve seen people mock that description; they shouldn’t. It is buttery-smooth. If you can think of a better way to describe it, I’m all ears.)
That sort of review, for better or worse, has followed Leica into the digital age. Now that cameras are computers – the M10 being a computer housed in the form factor of the iconic M cameras, sharing not much else – Leica reviews are now all too often over-the-top reflexive nonsense, vain attempts to justify modern Leica’s luxury pricing model. Sometimes bullshit is just that – bullshit.
We’re starting to see the first “reviews” of the new Leica Thambar lens, one in particular by an Italian photographer Eolo Perfido**, who apparently advertises himself as, among other things, a “Leica Ambassador” (You can find the “review at https://eoloperfido.com/blog/leica-thambar). I will note that Perfido in Italian is Perfidious in English, Perfidious in English meaning duplicitous, deceitful, unfaithful, untrustworthy, which pretty much sums up Mr. Perfido’s “review” from a critical perspective.
In reviewing Mr. Perfido’s review, I’ve annotated some of his claims with my responses:
“Thambar means “something that arouses wonder” and never has the name of a lens been more inspired.” [Our respective capacities for “wonder” obviously differ considerably. It’s a soft-focus lens that has almost no practical application that can’t be met with a jar of vasoline and a $30 Soviet made Jupiter. The only thing that might arouse something close to “wonder” for me is that Leica have the cojones to market this thing for $6995.]
“I decided to let myself be amazed and started clicking less with my head and more from the heart.” [What the hell does this mean? “Amazed” by what in particular, or is this simply free-floating amazement, something like giddiness after an expensive bottle of Prosecco? Please define a shooting technique that mirrors this new “from the heart approach” and how it might differ from “clicking with your head.” This is a review, not surrealist prose].
“The shutter speeds, the perfect focus, and the classic ratio between times and diaphragms I was used to, were totally usurped by an instinctive approach throughout the session. There were just me, the model, and a lens that responded unobtrusively to all my solicitations. Yet, precisely this lack of control meant I experienced a form of photographing, which will very likely become increasingly relevant in my personal development.” [The Thambar “responds unobtrusively to all [your] solicitations” producing “a lack of control” characterised by “an instinctive approach”? Ok. Totally get it.]
“It is a lens for those wishing to take creative portraits by adding a lens with a great personality to their artistic journey. You will understand if this tool is for you by simply going to a Leica Store and trying it in person. It will be akin to being in love, so if something clicks, this lens will definitely become an indispensable part of your kit.” [But only if I “forge an elective affinity with it,” apparently. Right? I’m confused.]
I enjoyed myself so much that when it came to returning the prototype I felt a sense of inner sorrow.” [Damn right you did. You could have turned around and sold it to some idiot on Ebay for $6000.]
Footnote**: In his defense, Mr. Perfido has photographed some really cool people, as shown on his blog. Valentino Rossi, perhaps the coolest human being alive, and Jorge Lorenzo, another legendary MotoGP rider, among them. Bravo. My advice: stick to photography and leave the reviews to someone else.
As my wife frequently reminds me, I tend to go overboard with my obsessions. In my professional life, I wear a suit. I love good suits. Double-breasted suits to be precise (yes, I know they’re not currently “fashionable;” I don’t care, as I despise the whims of fashion in any context, whether it be clothing, lifestyle, music, art, photography, literature etc). Good Italian double-breasted suits – Armani, Canali, Zegna. I just went to my closet to count my suits: 32. Of course, gotta have shoes to go with the suit. I like Allen Edmonds; I’ve got 19 pair.
A few years ago I was ambling down Main Street downtown, all dressed up in my Armani suit, when I was approached by a local newspaper columnist. He asked me about my suit, said he was writing a column on how badly dressed area professionals tend to be. We commiserated, shared a laugh at the yokels with their baglike “two for one” Joseph Banks suits, he took my name and off I went. A week later I read his column; he names me the Best Dressed Guy in town. 1.3 million people in this town, mind you, half I presume are guys. I had to chuckle. Not bad for a kid who at 18 was a high-school dropout who drove a laundry truck in Paterson, New Jersey to pay the rent and who owned one ill-fitting suit bought at JCPenney which I used for the infrequent wedding or funeral of a friend.
What I didn’t tell him was that I buy all my suits used, on Ebay. The Armani I had on that day, with a tag from some high-end clothier in California, I’d paid $35 for. I don’t think I’ve ever paid more than $100 for a suit. Same with the shoes. I’m lucky; I’m a perfect 42 regular and a perfect size 9 shoe. If you know what you’re looking for, you can score some killer deals on used suits. Just make sure the pant waist and length are good and the jacket falls into place by a natural logic. I rarely alter them in any way. Take em out of the box, have em pressed and start wearing them. So what if the original owner is dead. As long as he didn’t die with the suit on, I’m good with it.
If there’s been one obsession as long-standing and profound as my camera obsession, it’s motorcycles. I’ve had at least one almost continuously since I was 12. Gotta be a sportbike – light, aerodynamic, fast. At the height of my cycling insanity I had 6 in the garage, a few Ducatis, a few Aprilias, the stray KTM, Kawasaki, Yamaha, Honda. 20 years ago I was spending insane amounts of money ( insane for me at least) buying, selling, modifying, tracking, racing motorcycles. I retain the broken bones, permanently concussed goofiness, dead friends and depleted bank accounts as proof. Luckily for me, I woke up a few years ago and said “enough is enough,” shortly after I attended the funeral of a friend, 34 years of age and with the world by the balls, who killed himself on a typically insane group ride through North Carolina backroads, and then a few weeks later came milliseconds from killing myself and an innocent cruiser rider out for an easy Sunday ride who had decided to make a U-turn in the road at the crest of a hill. Safe enough to do if you assume everyone else behind you is doing approximate legal speeds; much more dicey when some idiot (me) is hammering up the road at closing speeds of 145mph on a 400lb 180hp bullet. Luckily we both survived our encounter. I went home, took off my leathers, cleaned out my shorts, and vowed never again. Sold all my bikes (except one, which sits under a tarp in the backyard). I have no interest in riding it. Funny how that works.
Presently, I’ve whittled my obsessions down to three: bikes, books, and cameras. Bikes I’m keeping in check. Just have four (well 7 really, if you count the 3 around town bikes) and given one or two always seems to have a flat tire or broken spoke or something, that seems about right. You need at least one ‘climbing bike’ (very light), 2 general road bikes (with varying wheel depths) and one ‘winter training bike’ (to ride in the rain and muck). A couple need to be carbon framed, one needs to be aluminum framed, and, for authenticity’s sake, you should have an old steel frame, preferably a hand-built lugged frame from the 70’s, rebuilt with modern groupset and deepdish carbon wheels that can serve as an excellent pedagogical device as I dump younger hotshot cyclists on their 13 lb carbon bikes while climbing extended 7% grades. I’ve pretty much got all that covered.
Books are a lost cause. My house is full of them. They spill out of every nook and cranny of the place. 15 years ago, the collection having reached fire hazard stage, I held a “Free Book Giveaway Party”, inviting friends who, in return for bringing a decent bottle of wine, got to take home as many books as they liked. That helped, but 15 years later I’m back where I left off, books everywhere. My wife, who also loves books but is privy to our monthly Amazon bill, has brokered a resolution – don’t give them away, but don’t buy any more. Instead, start re-reading all of them. That should keep me busy for awhile. Makes sense, and in the last few months I’ve reread a bunch of stuff I’d forgotten was so good – Philip Roth’s The Human Stain and undoubtedly the funniest book ever written, Portnoy’s Complaint; JB Priestly’s Journey Down the Rainbow; various Rebecca Solnit (A Field Guide to Getting Lost; River of Shadows; The Faraway Nearby); and, feeling frisky, Clive James’s translation of Dante’s The Divine Comedy (I walked past Dante’s house in Florence this summer; figured I’d read his book again as an adult to see what all the fuss was about. Overrated. If I’m going to read antiquated “serious” lit, give me humanist classics without the medieval theological claptrap – The Iliad, The Aeneid etc. Even then, I’m skeptical whenever I’m told I must love something because it’s old and venerated, like Homer or Shakespeare. I get that the Iliad is a 3000 year old construction of an ongoing oral bardic tradition, but I’d easily consign it to the flames forever if it was a choice between it or Fernando Pessoa’s The Book of Disquiet, a 20th Century masterpiece that speaks as if it were written with me in mind. As for Shakespeare, don’t even get me started (I say this as someone who in a previous life spent a semester at Exeter College, Oxford reading Shakespeare)).
And then there’s the camera obsession, my oldest and most difficult to uproot. Difficult because I’m not sure it’s really about cameras per se. I’ve struggled to parse out the difference between a fixation on cameras and a larger love of photography. Granted, I retain a preference for the types of cameras that helped form my initial enthusiasm for photography, but if I think about it, that enthusiasm was ultimately the product of the photographs, in my case not the studied, mannered photos of an Ansel Adams, who seemed to be the one photographer even those with no interest in photography knew and admired, but even in my youth seemed to be a grittier sort, the emphasis being on what the photo conveyed and not the dexterity of the conveyance.
And maybe that’s where my ambivalence about present-day Leicas comes from. Back in the day, Leicas to me were the embodiment of that grittier photographic ethos, of photos grabbed on the fly in less than optimal conditions by ‘real’ photographers who were all about the shot. They had a certain cache that came from their status as brilliantly simple yet effective tools, tools that had been crafted to meet a specific purpose with a utilitarian efficiency. Nothing superfluous, no unnecessary adornments, no compromises dictated by prevailing photographic fashion. That seemed to me the epitome of cool, a sort of anti-fashion that in its purity rose to its own level of fashion. Fashionable precisely because it didn’t aspire to fashion; to use a Leica was to be above fashion, a statement of indifference to anything but the art of photography itself.
Now, of course, it seems precisely the opposite. Photography for the sake of fashion. Owning a Leica is now the functional equivalent of wearing the Canali suit so you can show people the tag, or parading up Rodeo Drive at 25mph on your 200hp Ducati wearing full Dainese race leathers when any decent rider in jeans and t-shirt on a Kawasaki 250 would lose you around the first set of good curves, or spending $10,000 for a 12lb Colnago bike with all the expensive carbon parts while you’re too lazy to lose the extra 10lbs around your waist. In the age of the boutique Leica, the photographic end has been detached from the means. All bling, no substance (or at least no interest in substance). Better yet if it’s bling dressed up to look like a serious working camera – weathered black paint the latest craze; throw it in that Magnum inspired Ono bag (just be careful cause you might scratch it up yourself). Hell, you can even get one weathered from the factory, weathered to precise specifications by Leica artisans. Perfect camera for the moronic ‘look at me’ Facebook/Youtube generation or some second rate derivative talent like Lenny Kravitz.
I’m not a big fan of 3rd party Leica “accessories.” I can only think of a few that were worth the expense – the Abrahamsson Rapid Winder, and the Amedeo Nikkor Rf to Leica M lens adaptor both come to mind. After that, not much else. The Rapid Winder fills a niche left ignored by Leitz – a decent trigger winder for your M2/3. The Amedeo adaptor offers you the ability to use some awesome 50mm Nikkor RF lenses on your M with rangefinder coupling. Both are exceptionally well-engineered and constructed items, as good, or maybe even better, than what Leica could have done had they the desire.
So, recently, when I received an email from someone in Germany offering me a free “Scarabaeus” holster for carrying around my Leica, free of course with the hope that I’d pimp it on Leicaphilia, I said, sure, why not? Free is good. Send it my way. Just don’t expect a glowing review, or any review at all, for that matter.
What I didn’t tell him was that I’d seen the Scarabaeus holster before and thought it was potentially a great idea, great if done properly. I’ve always disliked camera straps and rarely use them, which leaves me using a camera bag, which brings with it its own set of problems. So I’ve often ended up using a pouch, sized to fit a body with lens, attached via a clip to my belt. It works but has its own drawbacks – it looks unwieldy (certainly not “elegant and stylish”), and constantly getting the camera in and out of the pouch can be annoying.There should be a better way.
So, after having used my absolutely free Scarabaeus holster for a few days now, I can confidently say that it’s a great idea executed simply and elegantly. It works. It works really well, actually. The holster itself consists of a mounting plate attached via a hinge to a belt clip. Your camera connects to the mounting plate via an inconspicuous bottom plate you attach to your camera’s tripod socket. Clip the holster on your belt, swing the mounting plate open, attach the camera to the plate and, voila!, your M is now firmly attached to your waist, sitting snug at your side, ready to use. And the beauty of the holster is that it’s super easy to attach and remove the camera from the holster – clearly someone with some engineering experience thought this one through. It’s all very intuitive: grab the camera with your dominant hand, reach over with your other hand and pull up an easily accessed lock/unlock mechanism and your camera is free of the holster and ready to use. When you want to reattach it, simply unlock the holster and slide the camera bottom back onto the holster and lock. You can pretty much do it without looking.
As for the build quality of the holster, it’s robust and heavy, solid and over-engineered, exactly what you’d expect of something you’re trusting your expensive Leica to. Is it “elegant and stylish”? That’s a subjective valuation, of course. It certainly is elegant to the extent that it’s functional and is so in an obviously simple way.
You can take a further look at the Scarabaeus Holster system at http://www.photoscarab.de/. They start at $149. which is serious money for a belt clip. However, overbuilt and engineered as it is, all metal, no plastic, my sense is it’ll last forever.