The Plaubel Makina W67 is regarded as one of the best medium format rangefinders ever made.
The Contax G1 is a titanium-clad, Japanese-made marvel that was introduced in 1994 as a high-end electronic rangefinder to compete with Voightlander and Leica, and became host to some of the best camera lenses ever made.
Regardless of whether you buy the G1 or G2, you can be sure that you’re getting one of the absolute best optics systems ever made and a reliable, workhorse 35mm rangefinder. From cameras with multiple lenses to one with a built-in digital projector, these are the most unique digital cameras available. We’d be remiss if a Nikon 35mm SLR didn’t show up on this list, and the FE is one of our favorites for its combination of reliability, low cost and compact size (especially compared to its F2 and F3 brothers). The M6 included frame lines for lenses as wide as 28mm — which many rangefinder aficionados clamor for. Leica M6 cameras still sell for a lot of money, and the lenses can rack up an even more costly price tag in the long run. This Hassy uses 120 film, which trumps 35mm in size and therefore gives you more bokeh, that beautiful blur that you see in so many photos these days. The Pentax K1000 exuded simplicity and reliability, and was widely used for a very long time.
The K1000 has a very vintage appeal about it because of its chrome- and leather-covered body. Most importantly though, this camera launched as one of the most quiet-firing on the market (and we’d even say it continues to hold the title today).
They are still highly sought-after but very rare; finding one is quite honestly like snagging a unicorn. The Canon AE-1 is arguably one of the first film cameras to make photography simple and more accessible to the masses.
The lens, a 35mm f2, rumor has it, was an exact copy of the Leica 35mm f2 Summicron for M mount cameras without the nosebleed price.
Couple this with the quiet shutter and film advance, and you’ve got a load of reasons why the Hexar AF was (and still is) a cult classic. If there is one Instant Film camera that will stand out in the minds of many people, it is the Polaroid SX-70.
Sporting leather exteriors trimmed with metal, the camera folds down for compact storage and unfolds easily enough to snap a cat before it can escape (the sneaky bugger). Rounding out this list is the Canon EOS A2, which was the first camera to have what some photographers still yearn for: eye-controlled autofocus. What's New, NowToday in Gear: August 11, 2016A titanium water bottle, an overachieving glasses case, Olympics-inspired duffels and much more. More: 5 Great New Cameras of 2016Extra Safe for When You Go in the Drink3 Bags That Will Protect Your Camera and Keep It DryWhether you're headed to the mountain or the river, these three camera bags will keep your gear safe and sound. More: DSLR NecessitiesSharp Shooters5 Great Cameras, Field Tested and ReviewedFrom Canon to Sony, with every Leica in between. More: Action CamerasThe Leica M-DIs There an Argument for a $6,000 Digital Camera with No Screen?Merging the convenience of digital photography and the serenity of shooting film. More: Camera AccessoriesTake Better PhotosQuick Essentials for Your DSLRTools for the photographer in pursuit of perfect photos.
Instafusion Image Blender-The Best Apps to Improve Your Instagram !!Instafusion Top iPad Photo-Editing Apps for Iphone and Ipad(Universal)!! You've already seen all the hilarious vintage tech ads the world has to offer, and it's now time for retro camera ads. The LEICA M3 is the best camera that LEICA has ever made, and by many accounts, the best camera of all time.
This is because the LEICA M3 has LEICA's biggest and best finder, and offers the most precise focus of any LEICA. The LEICA M3 never puts another frameline inside the one you're using, unlike newer, lesser LEICAs.
The LEICA M3's ultrasmooth, quiet, solid and precise mechanics are much better than the LEICA M9. The LEICA M3 is perfectly compatible with every LEICA M lens (1954-today), and with a simple adapter, perfectly compatible with every screw-mount lens (1933-today). When used properly with the coupled LEICAMETER MR or LEICAMETER MR-4, the LEICA M3 becomes an ergonomic joy, with foolproof semi-automatic exposure that just takes pictures. Most LEICA M3 that have sat unused since the 1970s will need an overhaul, after which, they will be as good as new. It's taken me about two years get to reviewing the LEICA M3, because trying to review the LEICA M3 is about as meaningful as trying to review any other immortal masterwork, like Beethoven's 9th Symphony or the Mona Lisa. Ratings of the features and specifications of any masterpiece never properly convey its brilliance. This is why the LEICA M3, although scaldingly expensive in its day, still remains as LEICA's largest selling camera ever, with about a quarter-million copies sold. Cameras are simply light-tight boxes that hold a lens in front of film (the easy part), and some sort of viewfinder, exposure and focus system (the hard part). The LEICA M3 is the camera to which every other camera has attempted to compare itself for seven decades: the 1950s, the 1960s, the 1970s, the 1980s, the 1990s, the 2000s, and now in the 2010s. You won't see messages like this for the disposable cameras of today; the first thing you see after the table-of-contents in the LEICA M9's user's manual are instructions for its disposal as household waste!
The LEICA M3 is today's best 35mm camera because it does what a 35mm camera needs to do better than any other 35mm camera. Up through the 1990s, 35mm cameras were used professionally to cover news, sports and action, so SLRs, like the Nikon F5, ruled.
Today, digital has replaced 35mm for action, leaving 35mm as a medium for careful photography of nature, landscapes, and for creating timeless works art.
The manual-focus LEICA M3 isn't the camera I'd use for fast action; it is the camera I prefer for careful photography of still subjects.
Among the many reasons the LEICA M3 is the world's best 35mm camera, especially today, is because it gets out of the way to let us make better pictures. With the LEICA M3, we are free to pay attention to making a great image, and are never distracted by menus, settings, or pointless features added to lesser cameras as sales features, but which rarely help make better pictures. Even if the LEICA M3 wasn't the world's best 35mm camera for actual shooting, it is also the world's best-made camera as an instrument unto itself. The LEICA M3 has the world's biggest, brightest, sharpest, cleanest, clearest and most-accurate viewfinder and rangefinder system. The LEICA M3 has a brilliant 0.91x viewfinder, and its flare-free rangefinder spot is the biggest, clearest and most accurate of any other camera. James Bond uses the LEICA M3 with LEICAMETER MC, deftly carried in his attaché, as yet one more impossibly expensive bauble of the ultra-rich. While only those who also owned their own helicopters and platinum mines could afford a LEICA M3 in the 1950s, today, a LEICA M3 today sells for less than a Nikon D90. Loading film into the brick-solid and Swiss-bank-vault-precise LEICA M3 completely overwhelms the dinky metal film canister and plastic-backed film; when you load an M3, you know the results will be extraordinary. Setting exposure and focus with the semiautomatic systems of the M3 and LEICAMETER MR is trivially easy, much faster and easier than screwing with metering patterns, exposure compensations and stupefying autofocus-system tomfoolery of today's slowly blinking cameras. Shooting the LEICA M3 proves to me what I've been saying for decades: most of what we've been dealt in the past 60 years is just marketing BS. All previous (screw-mount) LEICAs used one eyepiece for focus, and a second peephole for framing. While M stands for Messsucher, today we know that LEICA was too humble to use the word Meisterstück (Masterpiece), as we use to refer to the LEICA M3 today. At introduction, the M3 cost about 50% more than the already very expensive and very popular screw-mount LEICA IIIf.
Collectors will pay two or three thousand dollars for a really nice, unused M3 body in its box with papers. If you use this direct link to the M3 at eBay, which is where I got my two M3s, you can pay about $1,100 for an M3 complete with a 50mm lens, if you know How to Win at eBay. The best cap is the 14 056 metal-insert body cap, which shipped in red and white boxes in its day. Every LEICA lens works flawlessly on the LEICA M3, unlike LEICA's lesser, newer cameras like the M typ 240, whose design flaws prevent proper operation with some of LEICA's greatest lenses like the 50mm SUMMICRON with near-focusing range. For shorter lenses, or 35mm lenses not intended for the LEICA M3, use an external finder, as one does with every other LEICA.
Works with any of the coupled LEICAMETER M, LEICAMETER MC, LEICAMETER MR or LEICAMETER MR-4 for foolproof semiautomatic exposure setting. Some few samples (about 7,000 or 3%) were given the dishonor of being off-shored to Canada. Here are two otherwise identical snaps of the LEICA M3's finder and the LEICA M9's finder, each looking at the sky with the same 50mm lens. The M3's finder is to-the-point, while it's difficult to see the M9's frame lines lost inside a jumble of mush.
LEICA got cheap after the M3, and has been making their finders much less complex to save money, but incapable of the high magnification of the M3. The M3 has real, complete rectangular frames; even more than the 35mm and 50mm frame, the 90mm and 135mm frames are real, square-sided rectangles. The M3's finder is a little cool on the color balance side, nothing I've noticed before I ran these comparisons above and printed the results. Yes, newer finders are antireflection coated as a marketing exercise to attempt to imply that they might offer more contrast or transmission than an M3, but look through a clean M3's finder, and you'll see that there is no comparison. Because it's plain glass, the LEICA M3's finder stays cleaner and clearer with use and fingerprints, compared to the easily soiled finders of LEICA's newest cameras. No matter how difficult the subject or your lighting, the M3's rangefinder spot never flares. To compare this yourself, look through a finder and cover both the viewfinder (main) and rangefinder (smaller) windows, leaving only the center frameline illuminating window uncovered. In every other camera, you'll see the rangefinder spot light up with varying amounts of flare as you move your eye.
The early LEICA M7s are horrible at this, while today's M7, MP and M9 are much better, but nowhere near as good in difficult conditions as the LEICA M3.
The M3's shutter release is more than just one gloriously smooth push to save an instant for an eternity: there is no lateral play in the shutter release button! The lack of kinks in the shutter release lead to less camera shake, and therefore sharper pictures. 90% of a camera is its finder, and the LEICA M3 has the best rangefinder finder ever created.
The LEICA M3's frame lines are never cluttered, meaning that one never has a frame for another lens appearing inside the frame with which one is trying to compose.
It is astonishing how quickly and clearly perfect focus snaps-in, and how brilliant and clear is the frame in which one composes. Because of the large magnification, focus is more precise than with other LEICAs, again leading to sharper images.


The M3 shoots best when used with a genuine LEICAMETER, especially the LEICAMETER MR or LEICAMETER MR-4. With the coupled LEICAMETER MR or LEICAMETER MR-4, press a button, set the indicated aperture, and shoot. Unlike cameras that use rotating cranks for rewind, the M3's rewind knob never gets caught in your hand when shooting vertically.
The shutter speed dials of the earliest M3s are shiny chrome-plated turned brass, which are much harder to read in direct sunlight than the matte-finish knobs of later M3s. The LEICA M3 shutter is pretty much the same as every other LEICA shutter since the 1920s: slow, quiet cloth.
Slower speeds (like 1 second) will have some afterbuzz, meaning that they are supposed to buzz a little bit after the exposure completes. The faster speeds are but an almost silent, soft click, while slower speeds add a slight interval between two even softer clicks.
Unlike SLRs, the only thing going on when you take a picture is two pieces of soft cloth moving about two inches to the left. While focus precision is a factor of camera design, and the LEICA M3 has more focus precision than any other LEICA, focus accuracy depends on the calibration of your particular sample of camera body, the calibration of every sample of lens, and how well the two samples work together. While largely invisible in its day, with high-resolution film scanning so popular today, it is much easier to see even the slightest errors in focus.
Often the second shot of the day in an F6 is blurred because the kink in the film where the film first starts wrapping around the spool in the film can is drawn to the film gate, and it isn't held flat enough to keep everything in focus at large apertures. Real LEICA photographers grab only the rewind knob and use it as a pivot with which to spin the entire camera around while holding it over their heads; I don't do that. Excepting deliberate destruction or inept repair attempts, an M3 can be rebuilt for an unlimited number of lives. Every other LEICA since the M3 has been an inferior cost-reduction that merely plays on the M3's genius in an attempt to keep selling cameras. The LEICA M1 (1959-1964) removed the rangefinder entirely for microscope and reflex (VISOFLEX) use.
The LEICA M4 (1967-1975) was an M3 with a canted rewind crank, and used an inferior, lower-magnification finder with a simpler, cheaper and inferior rangefinder system. The LEICA M4-2 (1978-1980) and LEICA M4-P (1981-1987) were made even cheaper again, with low-magnification finders and flare-prone rangefinders.
The LEICA M6 (1984-1998) and LEICA M6 TTL (1998-2002) were cheaper cameras, with zinc, not brass outer plates, and made not in the Holy City of Wetzlar, but elsewhere in Germany.
The LEICA M7 (2002-) uses an inferior low-magnification finder, and also has a design flaw preventing its use with the near-range of the LEICA 50mm SUMMICRON with near-focusing range. The LEICA MP is but another attempt to simulate the M3, so again, why settle for a mediocre finder when you can enjoy a real M3, with a far better finder, instead? The LEICA M9 has almost nothing in common with the LEICA M3, except sharing the mount, the basic rangefinder layout and some outward similarity in appearance. Queen Elizabeth of England's 60th birthday commemorative postage stamp (17p and 34p, issued in 1986 in the UK) shows her with her own LEICA M3, which she's been using since 1958. The only fluff features added to newer LEICAs these past 50 years has been a faster-loading take-up spool (retrofittable to the M3 with a conversion kit part nr. Many newer LEICAs claim to have a 28mm frame, however it's so big that it's nearly impossible to see or use, and even if you can see it, you can't see all of it at the same time; you have to wiggle your eye around and look at it in sections, which is not the way to see a composition!
Good enough for royalty, good enough for National Geographic and good enough for Miles Davis? As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use.
While it’s not very portable (with the 110mm lens it weighs over five pounds), it offers convenience and excellent quality.
The camera was produced in the Arsenal Factory in Kiev, Ukraine, and is an excellent alternative to the more expensive Hasselblads (though some models are believed to have been poorly produced during certain years).
There’s a host of lenses available (some of the best examples are made by Schneider) that mount onto lens boards sized specifically for your camera. It’s modeled after the convenience of 35mm cameras, with a similar layout and function. The Fuji GW690II is a rangefinder-style camera, just like the Mamiya, but offers slightly lower-grade optics and a greatly reduced price. Its beefed-up SLR body weighs more than five pounds and a special-accessory wooden hand grip is pretty much required for hand holding. Nikon is famous for over-engineering its film SLRs, and the FE is no exception; the alloy body and precision manufacturing mean that even though you’ll be spending less than $100 on the body, you won’t be getting something disposable.
When the Leica M6 appeared, many people thought it was one of the most perfect M cameras ever made.
The cameras themselves are designed for documentary and photojournalistic work, and most people don’t reach for lengths beyond 50mm.
Owning one means you’ll have your hands on a piece of history, but history that will last (the handmade German engineering that defines Leica includes precious care and various quality control checks). With a look-down-style viewing screen and a lovely hand crank on the side to advance your film, you’ll have a lot of fun using this baby. Coupled with some of the new Kodak Portra film, which the company designed for scanning, you’ll eventually create an online portfolio to be truly proud of. Many people shot the K1000 for both professional work and for hobby; but even until recently many students sought it because of its affordable price, sturdy body, excellent light meter and small size.
Before digital became mainstream, this medium-format beast was in the hands of the creme-de-la-creme of wedding photographers and portrait-shooters. And if you can find one in perfect working condition with an 80mm f2, 120 back and an AE prism, pony up the Benjamins.
Your parents probably used one to photograph all those embarrassing shots of younger you in your Teenage Mutant Ninja Turtles get-up (way before Michael Bay tried to ruin your childhood).
Besides being so simple your grandma could use it, Canon (and third-party companies) supported it with loads of accessories and lenses. Sprinkle some magical autofocus capabilities onto said lens and attach it to a compact camera body — you’ve got yourself a camera that can live in the inside pocket of your 1968 Vintage Bomber jacket.
There’s a very good reason why this cult classic is in the hands of every hipster you know. Using the bright viewfinder, the user can manually focus the lens, and as long as the light meter next to it isn’t blocked, a beautiful piece of vintage analog love is always printed out right on the spot. The film predecessor to the 5D series of cameras earns a place in the revolutionary cameras database for including this feature. JacksonIlot has taken 1950-60s era rangefinder cameras and restored them back to mint condition and perfect working order. These cool vintage camera apps can help you create fun, retro snaps with an old-school vibe without always defaulting to Valencia.
It creates unique new retro filters, ranging from funky old film color styles to dramatic classic black and white style filters. From classic brands like Kodak, Leica, and Polaroid, we bring you a mix of visually appealing ads as well as ones that will have you scratching your head because they're just so weird. To those who already appreciate it, there is nothing more I could possibly add, and to those who don't, there is no way a review could possibly convey the brilliance and eternal genius these works contain. Of course not; just like great photography, Mozart's brilliance often lies in how few notes he used to express his points more clearly than if he had used more. The LEICA M3 is superior to every other camera, and to every other LEICA, precisely because of the M3's superior finder system.
In the LEICA M3 you have the utmost in photographic performance, speed, and convenience that we, as specialists in high-grade optical precision instruments, can provide. The LEICA M3 is an entirely mechanical rangefinder camera which uses interchangeable lenses and whose viewfinder selects framelines automatically as any lens is attached. Therefore image quality, ergonomics and portability are more important than frames-per-second, so the LEICA M3 reigns once again as the world's best 35mm camera. The LEICA M3's simplicity and singularity of purpose lets us concentrate on our subjects and our pictures, instead of being side-tracked by having to think about a camera. Nikon and Canon SLR and rangefinder lenses don't measure up to LEICA lenses, and among LEICAs, the M3 offers the world's highest focusing precision — better than any other LEICA, ever. Forgive my gloating, but this classic LEICA equipment costs a lot less than today's made-in-who-knows-where plastic rabble from Nikon and Canon.
If all I got was the same results as I get from digital cameras, this sublime pleasure of shooting would be worth it, but the results I get from film are superior to what I get with digital capture, both artistically and technically. It takes just a second to set exposure, focus, aim, shoot, and wind for the next great shot.
This older, higher-quality equipment takes better pictures, takes them more quickly and more easily, and costs less than the disposable plastic digital dross of today. It's called the M3 because the viewfinder has three automatically selected framelines for three lenses: 50mm, 90mm and 135mm. With these adapters, the framelines automatically set themselves, and focus works perfectly, too.
With an actual subject, it's also obvious how much smaller is the M9's puny low-magnification finder.
This reduces focus accuracy, so much that the puny 0.68x finder of the LEICA M9 comes with a warning in the instructions not to use 135mm lenses at their widest apertures because the M9's finder lacks sufficient accuracy! Other LEICAs make do with mere line segments, or just corners, while the M3 projects big, bright and complete rectangles. By comparison, it's hard to find a lens with newer LEICAs whose finder frame isn't polluted with other irrelevant frame lines. My M3 shows me what I get on my slide mount, while LEICA M9 images include much, much more than shown in its finder. The difference is that fingerprints are obvious and distracting on the coated front windows of newer cameras, but not distracting on the uncoated windows of the LEICA M3.
Its solid-brass wind lever works great; more solid and faster than the plastic thingys on lesser LEICAs. That's right: while mortal cameras like the LEICA M typ 240 have shutter buttons that wobble from left to right as they press-in, the shutter button of the LEICA M3 only goes straight in towards its mark, unwavering and without lateral play, exactly like the vision and determination of the LEICAMAN. There are no distractions; your attention in on nothing except one's subject and composition. The M3, exposure and focus never delay anything, and the simple finder allows one to concentrate on creating the strongest picture. The LEICA M3's rewind knob does not rotate as the film advances because it is declutched from the film's spool until the knob is lifted for rewind.
This isn't important, as one should be using the LEICAMETER to move the shutter speed dial, in which case the camera's dial is covered. This is because looking at a 3,600 DPI scan at 100% on a computer is a 36x magnification of the film, the same as looking at a 33 x 50" (85 x 130 cm) print, just inches from your face. Yes, LEICA lenses and camera bodies vary from sample-to-sample, and you will have to hand-pick which lenses work best on your M3.


I have no idea how or why the M3 is better than the M7, but the few times I've tried this, it is. Nikon still hasn't figured out why the Nikon SP only sold one-tenth as many cameras as the LEICA M3: the SP lacked genius, more specifically, the Nikon SP had more finders and frame lines, but asked that you used two different finders to do what the LEICA M3 does better with just one! It also lacked the automatically-resetting internal frame counter of the M3, and uses a primitive external wheel as a film counter, requiring manual resetting for every roll!
The M7 also offers an optional 0.85x finder, the best available today, but still inferior to any old M3.
The M9 is sort of like the crudeness of a Polaroid SX-70 crossed with an M3 with a broken viewfinder. She's shown in the image of her her 50th birthday, or in 1976, enjoying her nearly 20-year old (at the time) LEICA M3.
14 260), TTL metering (which lacks the simplicity and hold function of the LEICAMETER MR and LEICAMETER MR-4), and the ability to show a 35mm finder frame with less-expensive lenses that lack the auxiliary finder optics of 35mm lenses designed for the M3. 35mm lenses with the finder optics for the M3 work great on all newer LEICAs, and I prefer the smaller frame size called-up with these optics as an aid to composition! Beats me, and the market agrees: this is why LEICA has sold more M3s, even at platinum-mine prices, than any other camera. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof.
It’s no wonder photography is bound so deeply to nostalgia, sending us down memory lane to simpler times.
It offers a wide field of view that’s roughly equivalent to a 23mm lens on 135 format. The 75mm 3.5 Lumaxar taking lens is said to have been made in West Germany, and is of the Tessar type, making the optics and quality nearly identical to that of the Rollei. It works great as a studio camera, but can easily make the transition to on-the-go street-style photography. This F2 also works with almost any Nikon lens (we recommend checking compatibility here first) because Nikon has never changed its lens mount. It is small enough to easily fit in a pocket, making it easy to transport and great for capturing candid snapshots. The TL in its name designates a metered prism viewfinder, though non-metered versions are also available. The G2 revision offers a bigger body, redesigned button layout, a better viewfinder (the G1’s is about as bad as they get) and improved autofocus.
The FE was intentionally designed as an advanced enthusiast camera that eschewed electronic gimmicks, so you’ll want to brush up on your aperture and shutter speed knowledge before loading a roll in order to get the most out of it.
It became one of the first full M cameras to include a working built-in light meter while keeping the size down (the Leica CL could also attest to this claim, but it lacked the feature set; the Leica M5 included a meter built in, but physically towered over every other M camera made).
So when you’re pondering lens options, remember to tell your friends to fix their hair, because you’ll be getting quite close.
Voigtlander manufactures some very good and affordable alternatives, though, and they can introduce you into the Leica world. Despite how much fun and experience you’ll accrue, the original design targeted professional work, and Hasselblad’s prices clearly communicate that. The combo will yield you prints well worth hanging up in your living room after being printed on white glossy aluminum. Pentax still manufactures a number of interesting focal length lenses such as 31mm, 43mm and 71mm — and any Pentax fan will speak volumes on their quality. It mainly shoots in the 6×7 format, though other sizes can be used to capture vast structures and scenes. In the hands of an experienced snapper, it came across as simple to use, had autofocus with lenses as fast as f2 (which is extremely shallow in medium format due to the larger negative size), and could probably knock a thief out cold if one tried stealing it from you. By giving users a full-program auto mode, shooting quite literally turned into a point, focus and shoot process.
Today, you’ll find photographers behind its iconic body for professional work because of the excellent FD mount lenses available, such as the 50mm f1.2. Today, you can still get film for the camera from the Impossible Project — who have come a far way in developing and improving their formula.
The user could use their pupil movements for focus and other features like depth of field preview by simply looking at the top left corner of the viewfinder. Instead of worn and aged leather accents, wood veneer finishes are added to these vintage cameras which are available for marginally less cost than other costly range finder cameras.
From unique effects to mix-and-match lens and film combinations, you'll have access to hundreds of photo possibilities.
This free website's biggest source of support is when you use any of these links, especially this direct link to the M3 at eBay (see How to Win at eBay), and you also can get them from Adorama. With the LEICA M3, every time I hear the second curtain delicately slide home, I know I have just created another perfect photograph that will remain immortal for all time.
The LEICA M3 was the most advanced camera in the world when I was born, it is today the world's best 35mm camera, and most likely will be long after I pass from this Earth. The LEICA M3 is so well built that it's a treat just to touch it, much less adjust its delicious controls and to fire it.
Unlike digital, all my shots come back perfectly exposed and in focus; I never have to make a second shot after seeing how bad one is on the LCD. These real cameras feel so much better than the digital plastic electronics that too many people confuse with cameras today. 35mm lenses come with special reducing optics to change the 50mm finder into a 35mm finder, while one uses external finders with shorter lenses. There really isn't any bottom to the M9's 50mm frame, and it doesn't look any better during actual use. This isn't about close-focus design differences, it's about what I get on my film in real shooting. The LEICA M3 also uses real ground-glass for its frameline-illuminating window, while LEICA's newer cameras make do with molded plastic. All newer finders are inferior, and can flare when pointed towards light sources, making it nearly impossible to focus. The shutter buttons of newer cameras, like the LEICA M7, M8 and M9, have additional nasty, distracting kinks in their travel, while the M3 (as well as LEICAs through the M6 TTL) enjoy only one smooth push. As I was shooting in Bodie in October 2010, for every snap I made carefully, at least ten other people buzzed by like flies as they snapped away on their plastic digitals without FARTing, making scores of forgettable snapshots to be deleted an hour later. The LEICAMETER's dial is big and well knurled, so speeds are easily set with one's shutter finger from the front of the camera. Back even as recently as the 1980s, no one regularly looked at all their photos this closely, but today, even the very slightest focus inaccuracy is obvious at this magnification. Lenses up to 50mm should all be perfect, while probably only half of the 90mm and longer lenses you try will be right-on. The Nikon SP also came from the stone age, demanding that you stop and change finder frames manually.
Worse, the LEICA M6 TTL has a design flaw (too-tall a top plate) that prevents it from working with LEICA's greatest lens, the LEICA 50mm SUMMICRON with near-focusing range, in its close-range. The problem with the extra 35mm frame in newer LEICAs is that this 35mm frame is too big to see it all at once, and in exchange for this questionably useful 35mm frame, the entire finder has been dumbed-down to a puny 0.72x for all lenses, making 50mm, 90mm and 135mm lenses far less useful.
And the backs also rotate to allow you to switch between landscape and portrait orientation without moving the camera or tripod.
Pair the F2 with a Nikkor 50mm 1.4 lens, and you have a street-photography setup ready to take on cities around the globe. While the Pentacon Six is quite a bit larger than a standard 35mm camera, it’s still comfortable to wear around your neck. The other thing that the Fuji has going for it over the Mamiya is its massive 6 x 9 negatives.
The G2 has driven most of the resurgence, and as a result, its body will cost something like $600 instead of the G1’s $100. Combine its rugged simplicity and low cost with nearly universal Nikon F-mount lens compatibility, and you’ve got the perfect camera for diving back into film. Not only that, but reading the meter became simplistic, as the LED arrows in the viewfinder conveyed the over- or underexposure. These cameras can be very pricy but usually stay under $1,000, which is much more affordable compared to an M-Mount Leica 35mm f2 lens. Several models are available which include the Canon QL 17, the Konica Auto S2 and the Argus C3. The M3 is good for more than a single lifetime of perfect photos; it's good for innumerable lifetimes. It most favorably combines the experience of a long tradition in the design of scientific instruments with the latest advances of modern optics.
When I dream about which camera I want to take with me to go shooting, it's usually the LEICA M3. For many, that sense of history is best captured and enjoyed through a vintage camera, and believe us, there’s no shortage of those on the market. If you walk in with an earnest interest in vintage cameras and a desire to shoot on film, they’re going to want to help you.
This giant negative size translates to higher-quality images and the ability to print them larger if that’s your jam. If you’re making the initial journey into film photography, this is the vintage shooter for you.
The feature also only worked if you held the camera landscape style — which meant it was perfect for your Grandpa photographing you terrorizing your sister in the backyard. We can discuss the various things that comprise a masterpiece, yet the masterpiece goes beyond any of these descriptions.
LEICA still services them, and plenty of other service facilities have no problem getting parts for it. It has matured through the many thousands of tests and trials at the hands of the elite of international photographers.
Because of their ubiquity and panzer-esque reliability, they’re still widely used for fashion and studio work while also providing a cheap gateway into oversized film. Still, the pure technology behind the feature is something that should be rekindled in today’s world. You will see for yourself the scope and precision of the LEICA and how in many years' time it will still be as exact and reliable as it is now." This is what LEICA shares after you've bought the camera!



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Comments to «Best camera for vintage photography uk»

  1. Ramil_Seferov on 05.04.2014 at 14:10:20
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  2. BLADEO on 05.04.2014 at 10:15:52
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