Category Archives: Leica M5

The Leica as An Investment

A Two Page 1973 Leica Advertisement

I ran across this 1973 ad for the Leica M5 and the Leicaflex SL and started thinking about the relative value of Leicas over time and how that value manifests itself today. Many of us consider our Leicas as ‘investments’ in the sense that it’s a pretty safe place to park some cash with the understanding that you’ll be able to get most, or all, or even more, out of it when you sell it. It’s a way I justify buying Leicas to my wife: we could either park an extra 3 grand in our bank account, serving no practical purpose except collecting chicken scratch for interest, or we could ‘invest’ it in the purchase of a Leica, a thing I’ll use and handle and admire and get some practical satisfaction from. I’ll take photos with it and it will inspire me to write about it on the blog. I’ll either like it or I won’t, but I’ll have the experience of having owned it, used it, better understood and appreciated it. And then, if we need the money again, I’ll sell it to a Leicaphilia reader and usually break even. Voila! Money put to good use. And a reader gets a decent deal on a decent camera that they know they can trust. What’s not to like? Of course, Leica could help me circumvent this process by sending me a camera or two to test, but I’m pretty sure that’s not going to happen. Who knows? Surprise me, Leica. I promise you an honest review.

The first thing that struck me was how expensive, in real terms, the M5 was in relation to the Leica models that had come before. If you run the purchase price numbers given by Leica through an inflation calculator, you’ll come up with the equivalent amount of circa 2021 dollars that purchase price represents. So, for example, buying a Leica Model II d in 1939 for $100 was the equivalent of paying $1900 for it in today’s dollar; a IIIg in 1958 for $163 would be the equivalent of paying $1467 for it today ( interestingly enough, the Professional Nikon, the Nikon SP, with a 50mm Nikkor f/1.4, sold in 1958 for today’s equivalent of $3,000); today an M3 would cost new $2373, the M4 $2320. Expensive, but not prohibitively so. The M5 body, were it sold today, would cost $3663. That’s a big increase in price over the iconic M3 and M4. With a decent Leitz 50mm Summilux (the lens it’s wearing in the Leica advert), it’d cost you >$6000 in today’s money. So, Leicas were pricey even back then. And the M5, now the unloved ugly duckling selling at a discount to the M2-M7, commanded a premium price over the iconic M2, M3 and M4.

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Nikon Price Guide From 1976: Click on it to enlarge it and open it up in a new tab

It also gives us some sense of why the M5 might have ‘failed’ in the market [arguable, but that’s a discussion for another time], as opposed to its failure as an evolution of the M system [which it most certainly was not]. In addition to being technically deficient as a pro ‘system’ camera (based on the inherent drawbacks of a rangefinder) in relation to the Nikon F2 and Canon Ftn, it cost a fortune. To compare, a Nikon F2 Photomic with 50mm Nikkor 1.4, then the state-of-the-art, retailed for $600, although in actuality it sold out-the-door for maybe $500. The M5, you paid full price. Throw in $350 for a Summilux. In today’s money, that means buying a new Nikon F2 with 50mm 1.4 Nikkor in 1973 would set you back $3100, while an M5 with a 50mm 1.4 Summilux in 1973 would cost the equivalent of $6070 today. The M5 with lens was essentially double the price of the top shelf Pro Nikon with lens, which was then the professional’s system of choice.

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What do they go for today? You can sell the M5 and Summilux you bought in 1973 today, almost 50 years later, for +/- $3500. It’s probably going to need a going-over by one of the few techs who still work on the M5 – Sherri Krauter, DAG, one or two others, but that’s the buyer’s problem, not yours. Not a bad return for a camera you’ve used for 48 years. An M4 body, purchased in 1969 for $2300 will fetch you $1500-$1800; a single stroke M3 $1300-$1500; a Leica II d you paid $1900 for in 1939, today, you’ll you get +/- $300. Not exactly a prudent “investment” if you’re looking for a return on your money, but certainly excellent resale value of something you’ve used for half to three/quarters of a century. Like most things Leica, what appears crazy can in reality be quite prudent. Taking it all into consideration, buying a Leica is, moneywise, pretty much a smart idea.

The Red Dot

I’ll admit I don’t like the red dot. It’s tacky. When Leica was Leica, there was no red dot. I’m proud to say that, when I bought my first Leica, there was no such thing as a red dot. The red dot is post- Leica M5, the M5 being both the best and worst thing Leitz ever did. Best, because it’s the last and best version of a hand-assembled M, incorporating everything Leitz had learned about interchangeable lens rangefinder cameras up to that point and, in spite of what its detractors claim (invariably they’ve never used the M5), its a better, more complete camera than the film M’s – M4-2, M4-P, M6, M7 – that came after it, which were essentially retrenchments to a fixed formula. Worst, because Leitz confused a marketing failure with a technical failure and returned to the meterless M4 in M4-2 and M4-P versions, both of which signaled Leitz’s transition from producing professional cameras to models aimed at the consumer market. Hence, Leica’s slow inexorable slide into professional irrelevancy and the rise of internet-era clowns claiming the title “Leica Photographer.”

That’s One Ugly-Ass Red Dot IMHO

The ‘Leitz’ red dot goes back to the company’s Binocular and Microscope divisions, which
used the dot on their products for many years before someone decided to impale it on the hapless R3 and M4-P. Binoculars from the mid/late 60s have a rarer black ‘Leitz’ dot. As best I can tell, the Leitz red dot first appeared on the 50th Anniversary Leicaflex SL2 in 75 followed by the1976 R3. As for the M’s, it’s first seen on a preliminary 1977 run of a few hundred M4-2, and then into full production of the M4-P, which is, with its numerous top plate markings and huge Leitz red dot, the ugliest Leica M ever, although you can get rid of the red dot easily by replacing the vulcanite. Revisionist history aside, for late 70’s – early 80’s Leicaphiles, the red dot coincided with the end of the most desired models (M3, M2, M4, and M5) and represented a perceived decline in the quality for which Leicas had theretofore been known.

1980 black M4-P red dot
1983 chrome M4-P red dot
1987 R5, red dot moved to the right side
R6, R7,RE, R6.2 red dot on the right
M6 (1984) Leitz red dot on top center
R8 (1996) Leica red dot moved to the left again
M7 (2000) Leica red dot on top center

Leica’s final film camera, the MP (2003), thankfully did away with the red dot, although it’s been resurrected with the digital M’s and all the other assorted digital models they’ve produced. Why, I don’t know.

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Leica has learned to monetize the red dot and certain consumer’s aversion to it. Witness the M9-P upgrade, which allowed you pay $US1995 to upgrade your red dot m9 for a dotless M9-P. Granted, removal of a red dot alone didn’t cost two grand — Leica also replaced the LCD screen with sapphire glass (apparently a good thing they hadn’t bothered to use on the original M9), and threw in some new leatherette. They also got rid of the tacky M9 logo on the front plate. Gotta admit, the M9-P looks a lot better than the garden variety M9.

The Art of Seeing Well

It is always good to keep your eyes wide open, because you never know what you will discover. The drive to live life more alertly being an instinctive need, whether you are an artist by trade or desire, the art of seeing well is a necessary skill, which fortunately can be learned. -Michael Kimmelman

What’s the point of photography? Maybe the bigger question is: what’s the point of looking at things, really looking at them? That’s what we’re doing when we photograph. Granted, we’re placing a value on preserving how something looks, whether it be a lover, a pet, a glimpse of what we daily encounter…. but we’re also attending to it in the moment. That’s why we value simple photographic tools – mechanical rangefinders the perfect example – that get out of our way and allow us to experience the moment without having to ‘interface’ with a machine and its requirements.

A good example is the difference between using my M5 or my Ricoh GXR with the M module. I rarely even use the meter in my M5; I find it more a disturbance than a help. What I like is the big, clear 35mm window, no clutter, just a focusing patch and you’re done dealing with the machine. Look at the light, set your exposure and forget the little details. The rest is looking. The Ricoh? Great little camera, but I’m constantly fiddling with something – a menu, an ISO setting, something flashing on the damn LCD – my attention drawn away from what I’m trying to see. It’s the story of every digital camera I’ve ever used; once you reach a certain level of competency i.e. you’ve distilled the photographic act down to its basics, all those technological ‘aids’ – those things camera makers promised us would make our experience better – just get in your way.

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For that matter, what’s the value of what we as photographers create? What’s the value of looking at a photo hung in a gallery or museum or published in a book? Why is it so important to us? For me, the point is the process of perceiving itself. It meets some primal need humans possess. But it also has to be disinterested to be an aesthetic experience. Looking at porn isn’t aesthetic, no matter how well done; the reason it isn’t is because we’re motivated by something other than the enjoyment of beauty. A genuinely aesthetic experience of beauty is aimless. We only fully apprehend the experience when we remain disinterested. A vested interest in what you’re looking at gives you tunnel vision. You see what you’re looking for, and as such, you don’t really see.

Photography allows me to move through the world with an attitude of detachment, in a state of heightened awareness. I’m always looking…which means I’m seeing things people habituated to their environments typically don’t. That’s pretty cool; we’re not here long. Best to pay attention while we are.

Photography – or, more precisely, film photography, where there’s typically a lag between what we see and how we see it reproduced by the camera – amplifies the enjoyment I get in looking. It allows me a second chance to see something I’ve already seen and to see it with new eyes. It’s why I find myself increasingly drawn to photograph the people I love. I’ll run a roll of HP5 through my camera in a day or two, just shooting domestic scenes around me – my wife, the kids, my dogs – and throw it in the pile of rolls to be developed at some later time. That invariable means a year or two down the road, when I’ve accumulated enough unexposed film to shame myself into doing something about it. When I develop them I’m always amazed at what I get. The banal circumstances of my domestic experience seem somehow re-valued and take on a larger meaning. The photo puts them in context. I understand what I see – and value it – just a bit better.

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Howard Axelrod, in The Stars in Our Pockets, addresses the technological processes that remove us from having to pay attention. GPS is an instructive example: with it we passively navigate our environment without reference to its larger context or where within that context we fit. It’s all end result – do we get there, or don’t we. (He doesn’t address the larger issue – that we’re also using a machine to move through space which itself mitigates our environmental interaction). Axelrod asks, “Will we still be able to achieve a kind of orientation that is really a kind of wisdom?”

It’s this “orientation that is really a kind of wisdom” that photographic looking gives. The heightened attention it cultivates can be difficult to practice. Really looking with disinterest requires effort. You can’t do it if your attempts to do so are mediated by tools that divert your attention instead of focusing it. In a photographic context it requires the correct tool, something that remains transparent to our purposes. This is why we hold onto those cameras that become extensions of our seeing through excellent haptics and long usage. Usually I don’t even recall putting the M5 to my eye; it’s such a simple act, done so many times, that its reflexive now. The digital camera? Not a chance. Even though it’s full of the technologies that supposedly simplify my experience – auto exposure, autofocus, auto ISO, facial recognition, etc etc, they’re never transparent to the act; I’m always scrolling through some fucking menu, or looking for some dial to turn or button to push in response to some LCD readout. The camera is telling me what to see.

There’s a reason we love our old mechanical film cameras. When used competently and correctly, they allow us to give ourselves over to the moment. We can exist in the moment for no reason or purpose other than that of the experience alone, for the appreciation and apprehension of what’s in front of us. That’s a remarkable gift. It’s also what’s required if one wants to produce work of any meaning, work that will help others see as well.

The Leica CL: The Compact Film Camera That Killed the M5

Leica CL with 40mm Minolta M-Rokkor f/2 (Image Red Dot Cameras)

[Editor’s Note: This is an article co-written by William Fagan and Mike Evans and first published some months ago at Macfilos, an excellent photography website hosted by Mike Evans (That’s Mike to the right, with a red dot on his forehead). William is a member of The International Leica Society and an avid Leica collector. Mike is a former journalist and communications professional who started the Macfilos blog in 2008. Mike has written for Leicaphilia before. While Macfilos started as a blog about Apple and the then-new iPhone, it has since developed into a photography source, with lots of good Leica content among other things. A keen amateur photographer, Mike is “involved in the Leica world” and enjoys close relations with Leica UK. He’s also got a good sense of humor and is a nice guy who generously allowed me to steal his content.]

The recent introduction of a modern Leica CL has focused attention on the original CL from the 1970s. ‘CL’ stood for ‘compact Leica’, a compact rangefinder camera, which was manufactured in Japan by Minolta for Leica between 1973 and 1976. Minolta also sold a version of the camera called the Leitz Minolta CL and later Minolta developed a more advanced version called the Minolta CLE.

Whatever happened to the Leica CL? Many consider it was too good for its boots. It arrived at a time of great flux in Wetzlar, when the company was undergoing yet another identity crisis. The popular and successful M4 had been superseded by the advanced — very underrated but ultimately too ‘unconventional’ for mainstream success — Leica M5. The M5 model was produced in small numbers between 1971 and 1975. Despite its advanced features, including light metering, it wasn’t well received, not least because of its large size. In desperation, Leica brought the M4 back from the dead, shortly before the company’s Canadian phase when the unmetered Leica M4 re-appeared in two new guises, the M4-2 and the M4-P.

But in the background at this time was the Leica CL, a smaller camera which was designed in cooperation with Minolta and intended to be a more compact rangefinder alternative to the M5, but sharing some similar features such as metering. After its launch in 1973 it succeeded in that goal. Too well, unfortunately. Many adopted it because they wanted the light metering ability of the M5 but in a smaller package. The CL outsold the M5 (65,000 v 33900 according to the production numbers) and many believe that this is the reason Leica halted manufacture in 1976. It would be another eight years before light metering came to the M with the introduction of the M6.

Still wrapped and unopened after 40 years: Part of a trove of CLs bought recently by Red Dot Cameras (Image Mike Evans)

Admirers

Designed jointly by Leica and Minolta and manufactured by Minolta in Japan, the Leica CL is often considered a “mutant” camera, even sometimes being labelled as “not an actual Leica” by Leica purists. But the truth is that this unconventional pairing of manufacturers has been a primary reason for the camera developing a close group of admirers.

The Leica CL is a 35 mm compact rangefinder camera with interchangeable lenses in the Leica M-mount. It first appeared in April 1973 and was released in the Japanese market in November 1973 as the Leitz Minolta CL. Both the Leica CL and Leitz Minolta CL were manufactured in a new Minolta factory in Osaka.

The Leica CL has a vertical-running focal-plane shutter, with cloth curtains, giving ½ to 1/1000 speeds. There is a through-the-lens CdS exposure meter mounted on a pivoting arm just in front of the shutter, similar to that on the Leica M5. The exposure is manual and is set using a needle system. The shutter is mechanical, but the shutter speed set is visible in the viewfinder just like the M5. The camera can still be used without any battery. There were two special C lenses produced for the camera, a 40mm f/2 and a 90mm f/4, both made in Germany. The finder’s framelines are for a 40mm, 50mm or 90mm lens. The 40mm and 50mm framelines appear when a 40mm or 50mm lens is mounted and the 40mm and 90mm framelines appear when the 90mm lens is mounted.

Leica CL with the 40mm Rokkor (Image Red Dot Cameras)

The original CL is a superbly compact and relatively cheap camera on which to use M-mount lenses, but it does not have a rangefinder as precise as that of any Leica M body. The rangefinder base of the CL is 31.5mm and the viewfinder magnification is 0.60, leading to a small effective rangefinder base of 18.9mm. This is probably too short for accurate focusing with lenses longer than 90mm and fast lenses used at full aperture. Some users report the camera is rather fragile, especially the rangefinder alignment and meter mechanism.

Sixty-five thousand serial numbers were allotted to the Leica CL, and this number does not include the Leitz Minolta CL. 3,500 examples of the CL received a special “50 Jahre” marking in 1975, for Leica’s 50th anniversary.It is also said that 50 demonstration examples were made. They are completely operational, with the top plate cut away to show the internal mechanism.

Here is an example of the 50th anniversary model from William’s collection with the 40mm and 90mm lenses, a special leather purse to contain the camera plus 40mm lens and a thin haze filter which fits between the rubber lens hood and the front element on both lenses.

Leica CL 50th Anniversary model from William’s collection (Image William Fagan)

Leica M5

The Leica M5 is a 35 mm camera by Leica Camera AG, introduced in 1971. It was the first Leica rangefinder camera to feature through-the-lens (TTL) metering and the last to be made entirely in Wetzlar by hand using the traditional “adjust and fit” method.

Leica M5 sales were very disappointing, and production was halted in 1975 after 33,900 units (from 1287001 to last serial number 1384000; 10750 chrome and 23150 black chrome bodies). Cost was an issue for the M5 body. In today’s currency (Consumer Price Index Integer) the price is around $4200.

Rangefinder camera sales were seriously undermined during this period by the predominance of mass-produced SLRs, primarily from Japan. In addition, Leica continued selling the M4 in 1974 and 1975, and the Leica CL was fully represented in the market by 1973. The UK Leica catalogue for 1975 lists the M4 and M5 and the CL.

Often cited as also contributing to the poor sales are the larger size and weight, the departure from the classical M design, the impossibility of attaching a motor winder, as well as the incompatibility with certain deep-seated wide angle lenses and collapsible lenses (i.e. 28 mm Elmarit below serial number 2 314 920) – see furher details below.The larger body dimensions also prevent the use of many M series accessories, such as external hand grips, quick release plates for tripod heads, or the Leica Lens Carrier M. The M5 is actually wider than the Nikon F, the camera that started the slide in the fortunes of Leica. There is an interesting story beyond the scope of this article about how the Leica company ignored the warnings about the threat from SLRs from its own engineers and then delayed the introduction of the Leicaflex until it was too late to recover. The M5 represents a failed attempt to make up lost ground.

Leica reverted to the M4 and its M4-2 (often called ‘the camera that saved Leica’) and M4-P developments, until the coming of the Leica M6, which offered built-in metering, albeit through the use of more electronic circuitry, while retaining the classic M design.

Here is a size comparison photo of some items from William’s collection, including a CL with 40mm f/2 Summicron and the M5 with a chrome 50mm f/2 Summicron and the M4-2 with a black 50mm f/2 Summicron. For proper comparison the M4-2 is wearing an MR light meter as the other two cameras have built-in metering.

The CL, M5 and M-42 with MR light meter — examples from William’s collection (Image William Fagan)

The M4-2 can be used with the M4-2 winder, which William has, but he decided not to mount it as neither of the other two cameras can be used with winders.

The CL and the M5 were designed to be used with PX 625 1.35 volt mercury oxide batteries, which were subsequently banned. They can be used today with Wein Cells or be modified to take modern PX 625 A 1.5 volt alkaline batteries. Williams article here deals with these issues in the context of an M5.

The M5 is now a relatively uncommon type, and their price on the second-hand market is comparable to that of the M6. M5s were discovered by Japanese collectors in the late 1990s and their price experienced a sharp rise at that time.

Boxes of new CLs and CL lenses discovered recently by Red Dot Cameras after lying in storage for over 40 years (Image Mike Evans)

Lenses for the Leica CL

The CL was sold with two lenses specially designed for it: the Leitz Summicron-C 40mm f/2, sold as the normal lens, and the Leitz Elmar-C 90mm f/4 tele lens. Both take the uncommon Series 5.5 filters. A Leitz Elmarit-C 40mm f/2.8 was also briefly produced but it is said that only 400 were made and they are now valuable collectors’ items

The lenses specially designed for the Leica CL can physically mount on a Leica M body, but Leica recommended not doing so because it would not give the best focusing precision, allegedly because the coupling cam of the C and M lenses is not the same. However, some people say that it is unimportant and that they can be used perfectly well on an M. Indeed in Williams experience he finds that the 90mm C lens is one of the most accurate 90mm lenses on an M.

When sold with a Leitz Minolta CL, the lenses were called Minolta M-Rokkor 40mm f/2 (later just Minolta M-Rokkor 40mm f/2) (see picture at top) and Minolta M-Rokkor 90mm f/4. It is said that the 40mm was made in Japan by Minolta while the 90mm was made by Leitz and is rare. With the later Minolta CLE, Minolta would produce lenses of the same name but with a different coupling system, the same as the Leica M lenses. A new Minolta M-Rokkor 28mm f/2.8 lens was introduced as well. All these lenses can be mounted on the CL too. Rokkor-branded lenses for the CL and CLE take the more easily found 40.5mm filter size.

The CL can take nearly all the Leica M lenses. Exceptions are some lenses that protrude deep into the body and could hurt the meter arm, which resembles a swinging lollipop. Such lenses include hese include: 15mm/8 Hologon, 21mm/4 Super Angulon, 28mm/2.8 Elmarits before serial number 2314921. The eyed lenses, including the M3 wide-angle lenses, the 135mm/2.8 Elmarit, and the 50mm/2 Dual Range Summicron, cannot be mounted either because they are incompatible with the body shape. The 90mm/2 Summicron and 135mm/4 Tele-Elmar are incompatible too. The collapsible lenses can be mounted but they must not be fully collapsed to avoid contact with the meter on a ‘swinging lollipop’ and Leitz advised to stick an adhesive strip of adequate width to the barrel, to limit the collapsing movement. Another limitation is that the rangefinder is only coupled until 0.8m. The same issues also apply to the M5, which also has its meter on a similar swinging arm, visible here.

William had to put an adaptor on this M5 in order to persuade it to show its ‘lollipop’.

The M5 with “lollipop” meter arm saying cheese for the camera (Image William Fagan)

Resurrection

The CL was consigned to history and, eventually, Leica got itself back on track with the M6, the M7 and, latterly, with a blossoming range of digital Ms.

Now it’s all ambiance as the new digital CL takes over the hallowed name after 40 years (Image Leica Camera AG)

The CL, as a film camera of course, was potentially just as capable as the M4 and M5. They were all, as we say these days, full frame. In those days full frame meant ‘not half frame’. It is interesting also that, whereas in the 1970s Leica was trying to make up ground on cameras with flapping mirrors, these days Leica seems to have left flapping mirrors behind with its move to EVF’s. A whole new era of Compact Leica (CL) photography has commenced with the launch of the new CL with EVF last autumn.

Thanks to Red Dot Cameras for supplying the shots of the Leica CL. According to Mike, It’s a good place to look if you’re in the market for a Leica

The Existential Dilemma of an M5 Lover

Readers of the blog are well aware that I’m fond of the M5. As far as metered mechanical M film bodies, I think it’s the best of the bunch, ergonomically superior to the classic M bodied M6. As for the M7, it really isn’t a classic M given the electronic shutter and step-less aperture priority automatic exposure control.

I’ve owned a slew of M5’s over the years, my first purchased in the 70’s. I’ve also owned an early classic (i.e. non-TTL metered) M6, and it’s also a beautiful camera, although the M5 feels to me more solid and refined, and all of the M5’s are TTL metered with an excellent spot meter. As for the ergonomics, I like the M5’s match-needle meter reading, much preferring it to the M6’s annoying red diode meter reading. I also love the M5’s overhanging shutter speed dial combined with the shutter speed shown in the viewfinder, which allows you to keep the camera to your eye while fiddling with the shutter speed. With the M6, you’ve got to take the camera from your eye to see what shutter speed you’re using. The M5 seems to load better too; it’s the only M that seems fool-proof to load. Little things, I know, but better nonetheless. And maybe I’m just imagining things, but the M5 viewfinder seems bigger and brighter than the M6’s.

I even like the aesthetics of the M5. Granted, the classic M profile of the M6 is a thing of beauty, an example of the timelessness of the design. As for the M5, its design met with criticism when introduced and for many it’s still an acquired taste, but I’ve always found it elegant in its own way, designed by Leitz from the ground up for functionality, as evidenced by the original 2 lug design so that the camera would hang vertically on the strap, although Leitz subsequently bowed to traditionalists and added a 3rd lug allowing the camera to hang in a “normal” horizontal position. In any event the M5 is a classic example of form following function, which is the design gold standard. I like the fact that its different, a unique M. While most Leicaphiles have never used one, they’re prone to repeating the same tired criticisms first leveled at the M5 by its initial detractors in the 70’s – ugly, too big, not a “real” M etc etc. Usually, you simply need to pick one up and use it for a bit – and then it makes perfect sense. It’s a superb camera, to my eye simple yet beautiful, and simple and functional in use.

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So….I’ve currently got two of them, a black three lug and a chrome 2 lug. Both work perfectly. The black M5 (#1377140, which puts it at the tail end of black chrome M5 production in late 1973) was CLA’d by Sheri Krauter (to the tune of $450) about 10 years ago and works as nicely as the day it left her hands. Meter works perfectly. The only issue it has is that the mask showing the shutter speeds in the viewfinder has dropped out of place, so you currently can’t see the shutter speeds in the viewfinder. Other than that, it works like new, shutter speeds spot-on down to 1 second, everything – in the words of dentist Leicaphiles everywhere – “buttery smooth.”

The Chrome M5 (#1347010, production date 4/72) is an interesting piece, as I’ve written about here. It’s a 2 lug “Panda” i.e. a chrome bodied camera with black chrome shutter lever, film return lever and and hot-shoe bracket. I’ve never seen another one, and have no idea if other M5 Pandas exist. For all I know, the guys putting them together that day decided to have some fun by mixing and matching. Whatever the explanation, it’s unique. Like the black M5 it’s in great shape, having just been CLA’d by Alan Starkey in the UK. He went over it head-to-toe, and it works perfectly, “buttery smooth.”

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The point of all this is I’m selling one of them and keeping the other. One of them – I’m not going to say which – has been with me since new and I’ve developed a certain affinity for it. I’ve said elsewhere that I would never sell it, as it’s like an old friend. Of course, as readers have no doubt noticed, anything I say is subject to change without notice, which, I explain to my wife, is actually a positive quality, the result of an open mind. However, there are certain things about the other one I really like, non-functional aesthetic things subjective in nature, and to this point I’ve been incapable of making the choice of which to let go and which to keep, which is where you come in…..

I’m offering both for sale, the black chrome 3 lug for $1100/shipped, and the chrome 2 lug for $1300/shipped, payment by Paypal or Bitcoin. *** (And no, they don’t come with the lens shown in the pictures). Whichever sells first I sell, which ever is left over I keep. Problem solved.

Frankly, if you closed your eyes and picked up both cameras, you couldn’t tell the difference in use. They both work flawlessly and should for many moons. Cosmetically, they’re both in very good condition – no dents, obvious flaws etc, just two M5’s that have been well taken care of. They’re covered by my usual return policy: if you get it and don’t like it, send it back, no harm, no hard feelings.

***Update: Chrome Panda M5 is sold.

Is the Leica M5 Still “Too Big”?

Above is the Leica M5 with a 50mm next to a Sigma SD Quattro with 17-50 2.8 zoom. Probably a bit of an unfair comparison given the Sigma zoom, but in actuality the 30mm Sigma prime – which would be the functional equivalent on the Sigma of the 50 on a 35mm body – is about the same size.

The Sigma SD Quattro isn’t considered overly large for a high-end digital (it’s a really interesting camera too, incredible value for what is in effect medium format output) but it dwarfs the M5. The pictures really don’t give you a full sense of how much bigger it is than the M5.

I note all this because one recurring complaint about the M5, even today, is its size. I’m convinced most critics who complain of its size havent ever used one but are simply repeating what they’ve heard or read from someone else, that person typically having done the same.

My sense is that the original antipathy to the camera was borne of its look – certainly different from the iconic M profile – and most of the criticism justifying the antipathy was what logicians call special pleading (put an M5 next to a Nikon F2 for clarification).

Using as Opposed to Collecting

A Like New Black Nikon F: One More Beautiful Thing I Don’t “Need”

If you’ve been reading this blog with any regularity, you’ll know that i’ve been periodically selling off equipment in a professed attempt to de-clutter my photographic life. [More to come shortly.] I woke up one day and realized my collection of ‘must have’ cameras and lenses had grown ridiculously large. I’m not necessarily against owning a collection of cameras, it’s just that, when it comes to photography, I’m not a ‘collector’ but rather fancy myself a user. You’d think that having a lot of cameras and lenses would be beneficial for someone who intended to use them for specific purposes, but in reality it doesn’t work that way. What happens is that the multitude of choices you’ve given yourself make choosing more difficult. Faced with the decision of what to pick up and use, I find myself defaulting, usually grabbing the same camera and the same lens as always, saving myself the trouble of having to deal with the cognitive dissonance that comes along with justifying whatever choice I would have otherwise made. And then there’s the emotional component, you know, the fact that I got such and such camera at such and such time and such and such place and did such and such thing with it back in the day, all part of the myriad of irrational factors we consider when we make value judgments about the things we own. Such are the anxieties that come with affluence.

You’ll also know that I tend to lapse into abstract discussions about things as I’m doing here, a habit I’ve possessed since young (my favorite book as a teenager was Nausea by JP Sartre (!)), and have an annoying habit of citing obscure thinkers to make a point. From a psychological perspective, it’s probably overcompensation, something I learned early on as a non-conformist teen with a middle finger up to any authority; when faced with the specious claims of those who claim authority to speak, you can often shut them up by one-upping them with competing claims based upon arcane sources, given that those in positions of authority dread admitting you might know arguments and authorities they don’t. Using this method, many years ago already I had come to the realization that most of those who claim authority over a subject are usually full of shit, their claim to it easily deflated with some critical argument.

One thing I have concluded, with certainty, is that cameras, however beautiful or iconic they might be, are still just things produced and meant to be used. You can put them on a shelf and admire them, but the satisfaction that brings is fleeting because, at bottom, they’re tools to be used, and where they find their meaning is in their use.

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A Carl Zeiss Jena 5cm 1.5 Sonnar, disassembled, cleaned and calibrated by Mr. Sweeney himself. Is it a rare, super-cool lens to use with your Leica? Yes. Do I “need” it? No.

But I digress. The reason for this post is to sell some stuff. In this case, really good stuff, the stuff I’ve been holding off selling in the hope I’d find a reason to keep it, because, frankly, I’m getting down to the equipment I have a real emotional attachment to insofar as one can be emotionally attached to things. It doesn’t help that the IRS is sending me letters suggesting I owe them money and hinting at extraordinary measures to collect it if it’s not immediately forthcoming. So much for emotional attachments. The IRS notwithstanding, I’d recently reached the conclusion that my photographic life would benefit from some further downsizing. Specifically, I’ve concluded I “need” the following: 1 film rangefinder camera with 21/35/50 lenses. And 1 digital camera with a lens. That’s it. The rest, nice as it might be to have, is redundant and certainly not required.

What I actually have at this point is this (even though I’ve been gradually selling off things now for the last year or two):

-A mint black Chrome Leica M4 ;
2 Leica M5’s, one black, one chrome, the chrome version needing a new beam-splitter but otherwise quite nice;
a Leica IIIg, in need of a general overhaul;
a Leica IIIf, also in need of maintenance;
A chrome Leicaflex SL body;
A standard prism user black paint Nikon F with a stuck shutter;
A standard prism black paint Nikon F with perfect 50mm f2 Nikkor-H, the nicest Nikon F I’ve ever seen and definitely a collector;
a Nikon S2 in need of a CLA;
A Bessa R2S with Voigtlander 25mm, 35mm and 50mm lenses and a few Nikkor RF lenses as well;
A Nikon F5 with a slew of manual and AF Nikkor lenses;
A Contax G2 with 45mm Planar and data back who ISO button is stuck that I’ve been using to take one picture of myself in the mirror everyday for about 6 years now;
A very nice, seldom used Leica M8;
A Ricoh GXR with M module;
A Ricoh GXR with Ricoh 28mm, 50mm and zoom modules

Frankly, as my wife periodically notes to me, that’s ridiculous.

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Pretty Much “Perfect” Black Chrome Leica M4 # 1381902 (1974). Selling this will hurt.

In deciding what to sell and what to keep (for now), I’ve taken into account what I’d recoup from selling a given item, as an example, the Nikon F5. It may be the most sophisticated, bulletproof film camera ever made: incredibly robust, full of all the features we now expect of DSLRs, it sells for a fraction of its true photographic worth. A quick trip to Ebay sees them selling for $200 and up. That’s nuts. Keep batteries in it and that camera will be working long after I’m dead, plus you get to use the full range of Nikkor lenses, manual focus lenses dating back to the 50’s all the way up to full frame AF Nikkors being produced today. All of that is worth more to me than $250 in my pocket, irrespective of how few times I use the camera. The F5 I keep. Likewise, the cameras that need service. Sell em now for next to nothing or have them serviced and sell them for what they’re worth. So, the Chrome M5, IIIg, IIIf, user Nikon F, the Nikon S2 and the Contax G2 all stay. Next step is to get them serviced, sometime down the road. Which leaves me with a working F5 and tons of optics for it, a Bessa R2S with 25/35/50/85/135, a black M5, a mint black M4, a mint black Nikon F with mint period correct 50mm Nikkor-H that’s apparently been on the camera since new (since it seems as unused as the body and plain prism), a little used M8 and two Ricoh GXRs.

The M5 I keep, as I’ve had it 40 years and is the one camera I’ve always said I’d never sell although it would make sense to sell the M5 and keep the Bessa with its Voigtlander Nikkor mount lenses. Given this, I’ll keep both. As for the digital bodies, I’ll keep one GXR with the 28, 50 and zoom modules. If I can’t meet my photographic needs with

a Nikon F5 and about 20 Nikkors of various size, shape and focal lengths
An M5 with a 21/35/50
A Bessa R2S with a 25/35/50/85/125
A Ricoh GXR with 28 and 50 modules

then clearly my “needs” are driven by something other than what’s necessary.

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Selling this one too. Got the boxes and all the ancillary stuff. Just don’t need it.

How does someone who’s always considered himself above the petit-bourgeois consumerist mindset end up with so much pretty stuff? Good question. It sneaks up on you; while you’re busy chuckling at the lost souls on the photo forums commiserating with other lost souls about which new Fuji body they need to replace last year’s Fuji kit, which 6 months ago replaced the 2015 Fuji, you yourself are engaged in the functional equivalent, buying another camera just because, telling yourself your motives are somehow better, less suspect than the neurotic consumerists who populate the usual sites. You’re not. You’re just another American who’s bought into the idea that happiness comes from stuff, especially really nice stuff like used Leicas.

[ So…., a bunch of things – the M4, the M8, the F, the CZJ Sonnar etc – will be going up for sale on the “For Sale” page of the site. They should be up in a day or two.]

A Leica M5 Made in 1992

You learn something new every day. Above is a beautiful chrome Leica M5 , serial number 1918015, which puts its manufacture date in 1992, 17 years after the last full run of the M5 in 1975. I had no idea any M5’s were produced after 1975. Apparently, Leitz made a further run of 20 M5’s in 1992:

1918001

1918020

Leica M5

1992

The one above is currently for sale on Ebay, ***from a dealer in Tokyo, which leads me to believe Leitz probably made a specially requested run of 20 cameras for someone in Japan. The seller wants $1888 for it, which is a damn good price for a Leica that eventually should become very desirable as a collectible.

I ran across this while perusing a popular camera forum I usually try to stay away from. Of course, the mere mention of a Leica M5 has brought out a number of thoughtful folks espousing their M5 opinions (some good, some bad, all considered), and then of course the resident forum “Mentor” (!) putting an imperious kabosch on the proceedings by categorically declaring all M5 users lumpen proletariat idiots, apparently based on the fact that he used an M5 once and didn’t like it, it being too big for his delicate fingers, (or was it that the viewfinder window scratched his monocle?), all further discussion met with compulsive browbeating.

*** It appears the same camera is being offered by two different Tokyo based Ebay sellers, one the auction on Ebay’s American site, listed above; and also, on Ebay UK for a price in UK pounds equal to approximately $2900. Confusing, and slightly concerning, although there may very well be an innocent explanation. In any event, it’s a great deal at $1888 as sold on Ebay’s US site if in fact its legit.

The (Seeming) Rediscovery of the Leica M5

Some Guy named Nathan out and about using a Leica M5. This used to be very unusual.

As readers of Leicaphilia know, I am a big fan of the Leica M5. I think it’s the best metered Leica ever made. I’ve clearly been in a distinct minority over the years, more like a member of a lunatic fringe in my love of the M5, and have been since the inception of the M5 in the early 70’s. I remember seeing the ads for the M5 in Modern Photography, back when I was an impressionable kid compulsively thumbing through photography magazines like other kids did their dad’s Playboy. In 1971 Leitz Wetzlar promised me that the M5 was now the pinnacle of the Leica M system, both an evolutionary and revolutionary advance in the iconic system. There it sat, at the top of the camera store ads in the back of the photography mags (along with the utterly weird Alpa SLR, but that’s a story for another day), imposing and yet aloof, top of the 35mm food chain, beckoning the increasingly select few who still might value the uncompromised excellence of a Leica and were willing to pay a hefty premium to own one.

Unfortunately, most leicaphiles met the M5 with skepticism or outright disdain because it was “too big,” or aesthetically ungainly, or just too different, or whatever. In short, just wrong. Such opinions were invariably a function of our mediated reality; potential buyers saw the pictures, read the reviews, assimilated other’s ignorance as truth, and most decided to pass, usually optIng for an SLR system then all the rage – a ubiquitous Nikon F/F2 or Canon F1. Most of these folks never bothered to actually use one, relying instead on the hive-mind to tell them what they should think about it (and if they’re still around, they’ve likely carried that prejudice forward).

Try googling “Leica M5 Photographer Images.” You’ll get me and Nathan and this guy. That’s it.

I meanwhile, was too young and stupid to know any better, a trait I’ve happily carried into late adulthood. Being a contrarian since birth, I wasn’t going to be content with a Nikon F or F2, or a Canon F1 (ultimately not enough for my elitist tastes even then) so I saved my money and eventually bought one, because, well, that’s what I wanted, damn it. A Leica M5. Back then that was the functional equivalent of an 15 y/o kid saving to buy a Lenny Kravitz Leica with his paper route money. I was nothing if not dedicated to the idea.

That M5 is still with me, while most every other Leica I’ve owned over the years has come and gone. Certainly there’s a measure of nostalgia involved, the inability to part with a camera that’s accompanied me for 40 years; never underestimate the emotional resonance of things long held and valued, things that come with time to define who you are. In my mind, I’ll always be an M5 guy.

*************This is how you’re supposed to hold it, Nathan

Which brings me to the point of this story. Up until a few years ago us M5 guys were pretty thin on the ground, as in almost non-existent. Arguing for the M5 was a sisyphean task. No sooner had you laboriously pushed the rock up the hill than it came tumbling back down amidst a torrent of ignorant condescension, usually by the very people who should have known better. I remember as recently as 2004, while living in Paris, running across a guy in the street with two M5’s around his neck. Two? Hell, it’d probably been 20 years since I’d seen anybody with one. My dear friend, a well-known, successful photographer, an otherwise thoughtful man with exceptional taste and a Leica film camera guy to the core, laughs at my M5 fixation. He refuses my standing offer to even use it, sniffling contemptuously as if it might sully his hands. M5 prejudice, like M5 love, for whatever reason, runs deep, much like theology, politics or sexual mores, almost hard-wired.

Yours Truly, holding my M5 in the approved manner

But a funny thing has seemingly happened along the way. The M5 has suddenly become cool. Hip even. I’m seeing threads on different photo forums extolling the charms the the M5, multi-page threads no less, of gearheads posting fawning photos and odes to this previously much -maligned bastard son of the Leica M series. Maybe the diehard iconic M lovers, along with their reflexive dismissal of the M5, are slowly being weeded out of the Leica gene pool through death and the inevitable generational shifts that come along with time. Just maybe the prejudice against the M5, so obvious for so long, has dissipated enough that a new generation of Leicaphiles can see the camera for what it is without having to contend with the studied ignorance of inherent prejudices.

And maybe, just maybe, Leicaphilia has had something to do with it. I’ve been pimping the M5 since I started the blog a few years ago, pimping it at every available opportunity – because I can. And I can’t help but notice that the seeming rediscovery of the M5 has coincided with the popularity of the blog. A coincidence only? Perhaps. Perhaps not. Who knows. I’d like to think that I’ve had a little something to do with it, but then again it doesn’t really matter. What matters is that Leicaphiles are finally seeing the M5 for what it is – a damn fine Leica M.

Now THIS is a Beautiful Leica

Currently for sale on Ebay from a seller in France, what looks to be an unused, pristine chrome two-lug M5, #13553167. The serial number puts its production date as 12/1972, which is smack dab in the middle of the M5’s production run but late enough to avoid the shutter issues that beset the earlier models. Seller claims everything works properly.

What would I pay for it? God only knows. I wouldn’t be interested in it as a collectible but as a user, so the box and all the supporting stuff would be irrelevant to me except insofar as it confirms the claim that the camera hasn’t been used much, but, of course, this potentially cuts both ways – lack of use for the last 45 years might leave you with a camera in need of service, and the one downside of M5 ownership is that M5 specific service isn’t cheap, usually double what you’d pay for a traditional M.

In any event, in my opinion, a good working M5 is about as good as you’ll get in a Leica M, and the chrome versions are the aesthetically more pleasing. Granted, not everyone agrees with me. Some Leicaphiles loathe the M5, which is their right. It’s my observation that the folks who hold the most negative opinions about the M5 are those who’ve never used one.

Automatic Leica M Leaf Shutter Prototype

This is a “Leica M5” with Elmar 50mm f2.8 Compur shutter, designed by Leitz in the early 60’s. Calling this an “M5 prototype” is misleading. If memory serves me correctly, this was Leica’s first attempt at a metered M, dating to the early 60’s while the M4 was on the drawing board but not yet produced, and long before any plans for the actual M5. In actuality, it’s a prototype M7.

Yes it’s ugly, and Leica might have tanked in short order had they been stupid enough to produce it, but it’s still an amazing bit of Leitz history. As for the two ‘rangefinder windows’, the second window appears to be to read the shutter speed of the Compur lens.

The Five Best 35mm Rangefinder Values (That Aren’t Leicas)

Occasionally, I’ll have someone contact me to ask about what rangefinder camera I would recommend they buy. Usually it’s someone new to film and or rangefinder use, and they’re looking to dip their toes in the water without spending the kind of money a Leica is going to cost.

Having had lived through the original rangefinder renaissance in the late 80’s, early 90’s, and being an incorrigable gearhead, I’ve probably owned or tried every variation of non-Leica rangefinder along the way, other than most of the 60’s and 70’s era fixed lens rangefnders from Japan, pedestrian cameras like the Canon Canonet or the Minolta Hi-Matic, which really weren’t meant to appeal to people who might consider a Leica, but rather were that era’s glorified point and shoots. So, with the criteria that it not be a Leica but a reasonable alternative to one; and that it be “affordable” (an admittedly subjection criterion), here are my (admittedly idiosyncratic) choices if you’re looking for the rangefinder experience without all the humbug, and costs, that comes along with owning a Leica. By “rangefinder experience” I mean this: 1) its got the be a rangefinder, obviously; 2) it’s small and compact; 3) it allows manual use i.e. you control shutter speed and aperture if you prefer; 4) it allows you to change lenses.

So, moving from better to best, here’s my favorite five best non-Leica values:

5) The Konica Hexar AF ($400 with lens): yes, I know, its got a fixed lens, which should immediately disqualify it, as it doesn’t meet the criteria I myself set. But….the 35mm f2 Hexanon that comes with it is an excellent lens, the equal of that $2000 Summicron you’re lusting over, and the camera itself such a perfect little jewel, incredibly inexpensive for what it is, that its made the list anyway. And yes, its AF, but the AF is pretty much bullet-proof, maybe even to this day the fastest, most accurate AF you’ll find. As for those who claim a camera with AF “really isn’t” a classic rangefinder because, well, it just makes things too easy – just remember, you get no points for difficulty. The point is to get the shot, and for that, the Hexar AF is brilliant, especially when working indoors. Plus, it’s got a stealth mode that’s super quiet, quieter than any Leica. Really, the only downside of the camera, other than the fixed lens, is that its highest shutter speed is 1/250th, which makes shooting pictures of fence rails at f2 in bright sunlight for the amazing bokeh problematic. Then again, you can’t always have everything.

4) The Nikon S3 Millenium w/ 50mm f1.4 Nikkor ($1500-1800 LINB on Ebay): yes, I know it’s pushing the affordability criterion, but hear me out. Imagine if in 2000, celebrating some corporate milestone, Leica had made the decision to remake the iconic M3 from the ground up, the exact same camera offered in 1954, hand made to the same exact specifications as the original – no cost-cutting- and coupled it with a new, modern coated Summilux 50mm f1.4. Imagine as well that these were eagerly snapped-up by collectors and speculators for about $6000 a kit, and were usually put aside, still in the box, to await the massive value appreciation you assumed they’d someday command. Suppose as well that now, 15 years later, for some bizarre reason, collectors and speculators, usually from Japan, would now sell you the full kit, basically new, for somewhere between $1500-$1800. Would you want one? Of course you would. You’d sell your children into slavery to get a kit like that at that price.

Well, that’s what Nippon Kogaku (Nikon) did in 2000 when they decided to re-offer a brand new Nikon S3 rangefinder coupled with a modern version of the venerable 50mm f1.4 Nikkor. And you can easily find one now, like new in box, between $1500-$1800, which is crazy, given that the lens itself is every bit the equal of the best 50 Leica is offering now. And the S3 itself is an amazing camera, possessing a solidity and quality feel equal, but different in its own way, to the best Leica M’s. Those who are familiar with the Nikon F will feel at home with the S3, given the F shares the same body architecture – essentially, Nikon created the F by taking an S3 and putting a mirror box in it – the detachable back, the wind on, the funky position of the shutter button. Like the M3, it’s unmetered, and like the M3 the viewfinder best accommodates a 50mm FOV, although there is a native frame for 35mm. At $1500 for body and lens, it’s a killer deal.

3) The Konica Hexar RF ($500 body only): The best AE M-mount camera ever made, including the M7. I prefer it to the M7 if you’re looking for an AE rangefinder because 1) it’s a 1/4th of the price of an M7; 2) it has a built in motor (an expensive add-on the M7; 3) it’s got a viewfinder magnification that allows use of a 28mm without external viewfinder, 4) it’s got a normal, swing-out back that allows trouble-free loading; and 5) it’s built like a tank. It takes any M-mount Leica lens you want to put on it. It’s the first camera I put in my bag when I’m shooting film, usually with the excellent 28mm M-Hexanon, or the equally superb 50mm M-Hexanon.

2) The Contax G1 w/ 45mm f2 Planar ($450 body and lens): You either love this camera, or you hate it. I love it, as in love it. You can buy a G1 body for $125. It’s got a titanium outer shell (you’ll pay $25,000 for a titanium M7), a built in motor (expensive add-on on an M7), AE, and AF. It’s the AF that seems to drive some people crazy, although the folks it drives crazy tend to be, in 2016 US presidential political terminology, “low information” photographers. Any “defects” of the AF system have more to do with the photographer than the camera; if you treat it like a point and shoot, you’ll have problems. To properly focus it, do this: point that little rectangular box in the middle the viewfinder at what you want to focus on; half cock the shutter; hold the shutter half-cocked while you recompose any which way you like. Voila, a perfectly focused photo. It really isn’t rocket science. Plus, you get to use the best trio of 35mm lenses ever made for a rangefinder system – the Zeiss 45mm Planar, the 28mm Biogon, and the 90mm Sonnar (the 35mm Planar, while the least awesome of the bunch, is no slouch either). Four incredible optics, the 45mm as good or better than anything you’ll ever find elsewhere, which you can pick up used for $300-$400, the 28mm Biogon easily procured for $300. A titanium body to support them, $125. Seriously?

1) The Leica M5 ($800-$1200 body only): Yes, I know it’s a Leica…but it really isn’t, at least if you listen to the internet hive mind, most denizens of which have never seen one, let alone used one. The M5 is, in my mind, Leitz’s great, misunderstood masterpiece, the high-water mark of Leitz’s hand-assembled, cost is no object rangefinders. The M5 made its debut in 1971, the first M with an exposure meter – in this case, a TTL spot meter still the best meter ever put in a film Leica. Big, bright .72 viewfinder, .68 base rangefinder, well-thought through ergonomics unbeholden to the “iconic” M design.

Unfortunately, it flopped in the marketplace, no fault of its own, rather a function of broader industry trends (the move of professionals to SLR systems), boneheaded decisions by Leitz ( introducing the CL simultaneously at 1/5th the price), and, most importantly, rejection by Leicaphiles because it didn’t conform to the iconic M2/3/4 design. Which isn’t to say it wasn’t a brilliant camera – it was, and still is, even today, a better camera than the M6 that proceeded it. However, all but the most discriminating Leicaphiles continue to simply ignore the M5, as if it didn’t exist, usually because they’ve bought into the common view that it’s too big and too ugly, “not a real Leica M.” Bullshit. It’s the best metered Leica M ever made.

The Mystery of the Leica Panda

Leicaphiles being what they are, any variation from the standard garden variety Leica model offers a potential opportunity to claim a “rare” collectible model, and, of course, to price it accordingly in the hope that someone, somewhere, is willing to pay a premium for it. Take the Leica M6 “Panda” for example.

The “Panda” is a name given by some imaginative Leicaphile to a series of chrome M6’s produced with the trimmings – shutter advance lever, rewind crank – of a black chrome M6. According to folks in the know, there are approximately 1000 of these “Panda” versions floating around, all apparently produced by Leica between 1991 and 1994. The variation was never officially noted by Leica, and no explanation has ever been given as to why Leica produced them in this manner. Lack of parts? Drunken Octoberfest shenanigans? Just screwing with us for the hell of it? We’ll never know.

In any event, if you’ve got one, congratulations, you’ve got a “collectible” Leica.

The Mysterious M5 Panda

Imagine my surprise, then, when I realized I actually own that most elusive of Leicas, the M5 Panda. This iteration of the M5 is seemingly so rare that no one, anywhere, seems to be able to confirm its existence. Yet, there it is, sitting in front of me, even though I’ve put out the appropriate feelers from collectors and long time Leica users and have come up with nothing. Crickets.

Its serial number, #1347010, puts it squarely in the last runs of M5’s, all silver chrome, produced by Leitz between August 1972 and May 1974. The fact that both the shutter lever and the hotshoe with serial number are black make it pretty clear that it came from the factory this way. Yet I’ve never seen another like it, and a Google search turns up no pictures and only one or two anecdotal claims that someone, somewhere, had one like it sometime in the past.

Maybe its obscurity is simply a function of the low esteem in which both collectors and users hold the M5 (see numerous of my other posts about why I think the M5 is a great camera and its unfortunate reputation is undeserved), but the fact that this camera clearly exists yet nobody has acknowledged or recognizes it, puzzles me.

In any event, if you own one like it, or know of the story behind the M5 Panda, tell me about it at leicaphilia@gmail.com. Until such time as I hear differently, I will claim to possess one of the rarest of rare Leicas: the Leica M5 Panda. It might even be for sale… at the right price.

*Thanks to Marco Cavina for the M6 panda photographs

Why The Leica?

Now that’s a beautiful Leica, a silver chrome M5. From an aesthetic perspective, I think that the chrome M5 with Summilux is the most elegant M ever made, the “industrial art” design oddly pleasing to my eye, the silver chrome, as opposed to the matte black chrome offering, setting off the camera’s minimalist lines perfectly.

Ergonomically, the M5 is superior to the iconic M’s: it fits in the hands perfectly, the viewfinder gives you shutter speed information without taking your eye from the finder, and the overhanging shutter speed dial allows easy one finger adjustments. The M5 has bright line framelines for 35mm, 50mm, 90mm and 135mm with the opening of the entire viewfinder equivalent to the angle of view for a 28mm lens. And, it’s the one M that is foolproof to load- drop in the film, route the leader through the take-up spool as shown on the diagrammed bottom plate, wind once till it catches, close the back and start shooting. Unlike other Leica film cameras, no incredibally frustrating false starts, missed shots and wasted film, no fiddlng with the camera to figure out what the film is doing; Leitz finally made an easy-loading film camera with the M5.

And, it’s got the best meter, a match needle TTL spot meter by Cds cell mounted on a retractable arm in front of the shutter. The match needle operation is quicker and more intuitive than the triangular red diodes used by the TTL metering of the M6 introduced 14 years later.

Did it stumble out of the gate when Leitz introduced it in 1971? Yes, but not because it wasn’t a brilliant camera. Its relative sales failure was the unhappy result of a confluence of circumstances that had little to do with the merits of the M5 itself: the professional shift away from rangefinders to SLRS with the introduction of the Nikon F, a much more versatile system camera than a rangefinder; the really stupid marketing decision by Leitz to offer the CL as an affordable enthuisiast alternative to the M5 at a fifth of the price, a move that canniballized what would otherwise be M5 sales; and the relative conservatism of Leitz’s rangefinder users who wouldn’t accept the updated design when measured against the iconic M2/3/4 profile.

In my experience, leicaphiles who still look down their noses at the M5 as some sort of bastard child in the iconic M heritage usually haven’t used one,

Confessions of a Leica Fondler

Yes, I am a camera fondler. I’ll admit it. After all of the pretentious high-brow screeds about the superiority of film to digital you’ve read me post to this site; after all the barely concealed distaste for the basement bound losers and retired consumer drones who compulsively troll internets forums with their gross inanities, when push comes to shove, when I’m completely honest with myself, the biggest reason I dislike digital is this: digital cameras are boring, inconsequential utilitarian, soulless, artificial hunks of plastic incoherence. You can’t fondle them. Or, to be more precise, they give you no reason to. Fondle a Sony A7 with one of those Zeiss Tuit monstrosities? I think not.

Right now, as I type this into my computer, an obscenely elegant Leica IIIg with attached Leicavit and Carl Zeiss Jena 5cm 1.5 Sonnar, sits within arm’s reach, for no other reason than so I can occasionally pick it up and fondle it. It doesn’t even have film in it (ever tried to load a Barnack Leica?). It’s just there for emotional support. Next to it sits a Nikon SP with a W-Nikkor 3.5cm 1.8 and a external finder, also with no film, although I did take it out this morning and ran a roll of HP5 through it [and no, I didn’t take it to the cafe to take pictures of smiling people and their pets; that’s for fondlers who are also dilettantes. I’m not one if those. I took pictures of serious stuff]. The SP is there in case I can’t reach the IIIg, I suppose.

I’ve been this way since I was 12, when my seventh grade teacher, Mr. Smith, a slightly creepy middle aged guy who for some reason took a keen interest in me, pulled me aside in a vaguely forced conspiratorial manner to show me his…..Nikon F. Holy shit. You’d have thought he showed me a stack of Playboys. I was gobsmacked. Something about that Nikon F spoke to something deep within me, something in my loins, some inchoate desire I didn’t even know I possessed, and I knew then that my future would be as a photographer.

Yours Truly, at 13, with my first “real” camera, but already dreaming of a Leica. 1971. I was already ahead of the curve, taking selfies in mirrors, probably before even Vivian Maier. I was always a cool kid, ideas all my own.

That chance encounter with Mr. Smith’s Nikon set me on the road for my lifetime’s journey with film photography. Cameras lusted after, many bought with hard earned money, darkrooms built, tens of thousands of negatives sleeved and filed away. Discovering, some time in the early 70’s, an even more rarified object of desire, the Leica rangefinder – considered an esoteric, vintage throwback even then – and in particular, the new M5, a radical step forward for Leitz, and, based on how it looked in the pages of Modern Photography, now having supplanted the Nikon F as the ultimate object of my desire. I knew the hardcore Leica users didn’t accept it – too big, too boxy, too sophisticated, too expensive – but I didn’t care; this was my fantasy, not theirs.

Atlanta, GA, 1970, overexposed Tri-X, and an Argus/Cosina SLR. The first photo I’d ever taken where, when I saw it in a contact sheet I said, “Yup, that’s good – I don’t care what anybody else says.” I was 12. I entered it in a middle school photo contest. It didn’t win; it didn’t even place. A very nice shot of a horse in a field with a sunset won.

My first cameras were bought for me by my parents. Parsimonious hard working blue collar folks, they saw no need to spoil me with what I wanted; instead I got the consumer grade Mamiya/Sekor, or the Argus Cosina SLR, or a Minolta SRT. But I wanted the M5, or at the least, a Nikon F. So one day, having saved my after-school money, I walked to the local camera store and bought a beat up black Nikon F with a chrome FTN finder and a chrome bottomed back plate, everything all beat to hell. But it worked, and I loved it, and used a Vivitar 35mm 2.8 on it because I couldn’t afford the Nikkors. Had that camera for years, shot the hell out of it, used it till it was falling apart and then sold it to some naive chap on Ebay maybe 15 years ago. Bet its still working.

In 1977, one year out of high school, I finally scrimped and saved enough to buy my first Leica, a spanking new M5 from Cambridge Camera in New York City. It had been sitting in inventory for 3 years, an orphan. Nobody wanted an M5. But, it was my dream camera, and they were selling at a steep discount, and that’s what I wanted, damn it, an M5. I’ll remember that day till the day I die: the drive into NYC through the Lincoln Tunnel, walk to the camera store, the purchase from the slightly bemused salesman (finally, a sucker who wants an M5!) the walk back to the car with the M5 and 50mm Summicron in my hands, feeling like Robert Frank.

I still have that M5. It’s the one camera I will never sell. Bought an M6 as soon as they were introduced. Subsequently sold it to a guy in Paris in 2003 who neglected to tell me that it was a collectible, one of the earliest serial numbered M6’s he had ever seen. No matter; never much liked the camera anyway. It seemed emblematic of the beginnings of Leica’s shift from professional tools to collectors’ trinkets. In the meantime I was stocking my shelf with real Leicas – M2’s, M3’s, M4’s, a few more M5’s, a Barnack here and there. Along the way I also discovered the Nikon S rangefinders, late to the party no doubt, but fell equally in love with them. They are great cameras, every bit the equal of the Leica rangefinders, and a whole nother rabbit hole to jump into, but that’s a story for another day.

What my shelves look like

So the question I ask myself is this: to what end do I collect all of these cameras? Well, I use all of them, of course. Sitting on the shelf above me must be 150 undeveloped rolls of b&w film, all shot within the year, all waiting for a marathon week of developing and scanning. But it’s more than just that. There’s something that still moves me when I handle them and when I use them. It brings me back to those days when I was 12, and just discovering the joys of photography. It’s not often you can say something has given you so much satisfaction over such a long period of time. And it’s harmless, as I remind my wife when she asks why I’m spending more money on another old leica when I’ve got a ton of them already. Would you rather I be buying and racing Ducati motorcycles, as I once did, and have the broken bones, and depleted bank accounts that go along with it? No, but isn’t 20+ cameras enough, she asks? Would you rather I be spending it on hookers and cocaine, I respond? And, of course, good woman she is, she rolls her eyes, throws up her hands, and walks away, knowing how happy she’s just made me.

Buying A Leica M? A Guide for Users Not Fondlers

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.

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.”

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:

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!”

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 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.”

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.”

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: 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.

The Renaissance of Film Grain in the Digital Age

I love the picture above. It’s not so much the subject ( a throwaway portrait), it’s the aesthetic of the photo, and particularly, the grain. It has a beautiful traditional black and white 35mm look, a function of the classic optical rendering (a 50’s era Nikkor H 50 f/1.4 Leica Thread Mount), the tonality of a classic emulsion (Tri-X), and the overlay of grain inherent in the film process. Grain is the random optical texture of processed film caused by small metallic silver particles developed from silver halide. Unlike pixelation, film grain is an optical effect, the amount of which depends on both the film stock and observational distances. For me, its the grain that sets traditional black and white film photography apart from digital black and white and why many of us prefer the labor intensive film process to digital black and white.

Which is ironic, because as a general rule, back in the film era, grain used to be a thing we tried to avoid. We chased newer emulsions that gave use a cleaner, less grainy look. C-41 films like Ilford XP2 and Kodak CN400 gave an almost grainless rendering and were popular for that reason; or we handicapped ourselves by shooting slow speed films like Kodak Panatomic-X (iso 32) or Ilford Pan-F (iso 50) as much for their lack of grain as their enhanced tonality. If we needed decent speed but unobtrusive grain for 11 by 14 prints, we shot Plus-X (iso 125). Or we avoided grain altogether by shooting medium format. When we needed low light capabilities, the quick easy shot, we opted for 35mm Tri-X or HP5, maybe even pushing it a stop to 800 iso, developing in a speed-enhancing developer like Microphen and crossing our fingers.

But a curious thing happened with the advent of digital photography: we realized the power grain had as an aesthetic characteristic in itself. When seen in contrast to the sterility of digital capture grain revealed its inherent importance to the look of film photography. After we lost the rearguard battles of resolution, dynamic range and tonality to digital capture, we were left with the grain, and we finally recognized the particularity of film, its “look,” was the result of the organic quality of the grain and how the medium itself, with its random imperfections, was a necessary part of the image itself. And now we shoot film for the grain.

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So, many of us who cut our teeth on film photography have now discovered the role grain plays in what we perceive to be a proper aesthetic of a photograph. We’ve found ways of changing film grain characteristcs in the darkroom by using certain chemicals, and we often choose film with specific grain for different occasions. In many ways, what sort of grain we want for a given look – coarse, subdued, plentiful – is as important as our choice of lens.

Havana, 1997, Leica M5 and Tri-X

If film grain has aesthetic value, high ISO digital noise does not. Not all sensors produce ugly noise at higher sensitivities – some produce noise almost “filmlike” (The Ricoh GXR M Mount comes to mind), but it’s usually only a matter of degree, not quality. In digital capture, the equivalent of film grains are the individual elements of the image sensor, the pixels; just as small-grain film has better resolution than large-grain film, so too an image sensor with more numerous pixels will usually result in an image with better resolution. However, unlike pixels, film grain is not the limit of a given film stock’s resolution. While film grain is randomly distributed and varies in size, image sensor cells are the same size and are arranged in a geometric grid. In general, as the pixels from a digital image sensor are set in straight lines, they are less pleasing visually – thin, as it were – then randomly arranged film grains. Viewers will reject an enlargement that shows pixels, when a film enlargement with ample grain and lower resolution will look normal, and ‘sharper’ at a normal viewing distance.

Various software exist to mimic the generic “look” of scanned film by converting to grayscale and adding random noise to emulate film grain. However, the results are often not convincing, because:

real film grain is not random noise
real film grain looks dramatically different across different film stocks
real film grain expresses itself differently based on exposure

A discerning eye can tell it’s not film, because real film grain, and the real film look, is a function of innumerable variables that go into the choice, exposure and development of a roll of film. To add grain to a digital image so that it would completely mimic film grain you would have to match the measured dynamic range and spectral response of a specific film stock and then correctly incorporate that film’s actual film grain into the image, duplicating how that grain expresses itself relative to exposure, stock, and development process.

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Buddha and Melissa, 2013, Leica X1, Silver Efex Tri-X emulation

For me, film images look like images should look. Digital capture has a transparency to it that’s off-putting, even when you run them through an emulation like Silver Efex (see above). There’s a certain thinness to digital capture, because it lacks the organic texture intrinsic to the film image. The organic nature of film grain adds a layer of separation from reality, and this separation, far from adulterating the image, helps feed the viewer’s imagination. It’s this separation from strict reality that gives grain it’s power and character. Real film grain gives us something more than an indexical transposition of the “real”; it feeds the imagination. That’s why, in an age of crystal clean 3200 iso digital capture, I prefer to shoot HP5. And I always push it a stop to 800 iso, just for the enhanced grain, because its a look I simply can’t duplicate even with a dedicated black and white tool like the Monochrom and Silver Efex.

A Fascinating Look At the Leica M System, 1973