The new Leica M7: one step closer to perfection.
<p>
By Erwin Puts
<p>
Introduction.
The introduction of a new Leica camera is always preceded by a longer
period
of gossip and speculations. The mythical electronic Leica is a subject
of
discussion since 1996 and many expected the new M camera at Photokina
2000.
'Insiders' predicted that the new M7 would be the Konica Hexar RF with a
red
dot. To shed official light on this topic: The Konica people have
proposed
to Leica to market the Hexar as a joint effort. But Leica refused as
they
assumed that the Hexar did not fit into the Leica philosophy of
photography.
Others 'knew' about the R&D activities, investigating a faster version
of
the shutter with a higher synch-speed. But wishful thinking should be
separated from the normal lab research. From the original Leicaflex on,
research into improved shutter designs are part of the culture of the
engineers, as is research into all kinds of improvements and new
products.
Now in spring 2002 the M7 is real. The camera does not fulfill all
characteristics that were part of the wish list, except for the aperture
<p>
priority automatic exposure. I am happy that Leica did not listen to all
<p>
suggestions and followed their own ideas and philosophy.
<p>
Product changes: careful evolution.
A new Leica model with radically different functionality is relatively
scarce. The M3 from 1954 was a very different camera from its
predecessors,
the IIIf (1950) being the comparison. The M2 and M4 offer hardly any
substantial improvements and we have to wait for 1971 with the M5 to
witness
Leica making a big effort to jump out of the self imposed limits. That
is 17 years after the M3!
The M5 did not become the success the Leitz people had
hoped for. The automatic exposure metering with manual selection of
either
shutter speed or aperture was very accurate and the semi-spot metering
with
the 8mm sensor was quite nice and functional. The size and shape of the
<p>
body gave the camera a somewhat chunky look. Leitz assumed that the
users
of the M5 would be mostly interested in the enhanced functionality, as
the
innovative two lug carrying strap indicated. The classical engineering
rule
that form follows function was put into practice. The failure of this
camera
to innovate the rangefinder scene still resounds in the halls of Solms.
The next models, M4-2, M4P and even M6 did not add much to the progress
of
the rangefinder camera. The M6 offered the same functionality as the M5
did,
but with a different implementation. And incorporated into the same now
classical body contours. From a broader perspective, the M6 did not
improve
substantially on the M5. The M6TTL is the first model to add new
features
and it is significant that the body size had to be increased by a height
of
2mm to incorporate the new functions.
The M7 from 2002 is again a substantial change in the line as was the M3
in
1954 and the M5 in 1971. But now we are 31 years later since the
introduction of the M5.
<p>
M3, M5 and M7: three models in a 48 year period.
The M3 is composed of about 860 parts, counting every screw and washer.
The
M7 has 1300 parts, and again every electronic component has been counted
as
a separate part. 350 of these parts are new and/or improved parts when
comparing to the M6TTL. Two hundred of those parts are electronic and
150
are mechanical.
The manufacture: tradition and modernity meet.
I happened to be in the Portugal factory when the first new M7's
started to be manufactured.
This camera is an astonishingly clever mix of old and new
production technology. In the Portugal factory you will find the
original
equipment, made in 1953 by Leitz for the production of M3 parts. These
machines have the classical green color of most mechanical drilling and
milling machinery, all moving parts are thick with grease, and the smell
of
cooling liquid and oil is impregnating your clothes. Even the sewing
machine
that has been used for over 70 years to stick the silk threads on the
shutter curtains, is working continuously, operated by extremely skilled
<p>
hands of a young woman.
The engineers know that these old machines cannot be improved upon as
they
have been designed with only one dedicated single purpose. Precision and
<p>
functionality have been optimized as this equipment has been designed
for
the manufacture of one single part, and to do it with utmost accuracy.
So
there is a large amount of components in the M7 (and the M6TTL and M6)
that
are identical and identically manufactured to the M3 days.
Intermingled with the dull green machines, you see modern bright red and
<p>
white CNC machines. These Computer Numerically Controlled machines are
very
flexible and can be programmed to execute very complex movements and
intricate processes. Again the accuracy will be measured in less than
one
hundredth of a millimeter. Be careful here. It is relatively easy for a
<p>
skilled worker and the right equipment to manufacture individual parts
to a thousandth of a millimeter. But only if every part is individually
and
manually finished on machines with even tighter tolerances. To transfer
this
level of accuracy to a process of series production is impossible. In
any
larger scale production you are hard pressed to stay within 0,01mm all
the
time and within statistical error margins.
The body of the M-camera has about 80 holes that need to be drilled into
the
diecast chassis. In the past any machine could only drill a few holes
and
then the body had to be refitted to another machine for the next series
of
holes. This is error prone as the worker would not be able to fix the
body
at the exact position of the previous operation. Nowadays the CNC
machine
can accomplish all actions on one body without any refitting. The result
is
a higher precision of the location of the holes.
This same mix of tradition and modernity we meet in the M7.
<p>
The aperture priority automatic exposure.
The electronic shutters, used in the Hexar RF and the G2, consist of a
compact integrated unit that combines the vertically running metal blade
<p>
shutter with an electrical filmtransportmotor. To ensure that no
unwanted
light reaches the film, the shutter needs to be cocked immediately after
the
shutter-release. It might be possible to incorporate this mechanism into
the
current M-body size, but the interior of the camera has to be regrouped
substantially. Most important however is the fact that the M would loose
its
very heart and soul: the silent, slow moving, vibration free
horizontally
running cloth shutter.
Therefore the decision in Solms has been an 'easy' one: keep the current
<p>
mechanism and govern the shutter speeds by electromagnets and a new
chip.
Presumably the engineers had no idea how difficult this simple decision
would be in the real world of engineering mechanics and electronics. The
M7
was targeted for Photokina 2000, but marketing wishes have no precedence
<p>
over sound engineering requirements.
The mechanical version of the shutter (since M3 till M6TTL) is of the
constant speed, variable slot-width type. The two shutter blinds run
separately and the time interval is determined by the shutter speed dial
<p>
setting. When we depress the button, the first blind is released and
runs
across the film gate. The second blind is held in position by a
connecting
pin, better described as a holding catch. The timing of the release of
the
second curtain is controlled by a very intricate collection of cams,
levers
and sears. The main roller that tensions the springs also holds the
speed
adjustment mechanism. This roller rotates over almost a full turn and
this
movement is used to allow a curved speed cam a certain time period to
release the catch of the second curtain. The time to transverse the film
<p>
gate varies from 18-22 milliseconds. The target speed is 20.8
milliseconds.
That translates into 1/48 sec. and this is with some safeguarding the
1/50
sec for the flash synchronisation. The speed of the shutter curtains
then
is 2 meter/second or 72 km/hour. This speed must be forced to zero and
compares to the force of a car crashing into a wall with 70km/hour.
That
is some force and that is why Leica employs two brakes, each for every
curtain. The dilemma is clear: higher speeds means more braking force
and
more noise and more tear and wear. But there is even more to consider:
the
complete assembly of the shutter mechanism with all its springs, levers,
<p>
gears, wheels, shafts and spindles has over forty different points
(areas)
of friction that together regulate the accuracy and regularity and speed
of
the curtain movement. The higher the speed, the more difficult it
becomes to guarantee the evenness of travel.
Tests made by the factory indicated that
1/2000 might be possible but not within the required very tight
tolerances
for accuracy and evenness of travel and the demand for low noise and
absence of vibration. The Leicaflex has also a mechanical shutter and
can
handle 1/2000. The explanation is a different shutter mechanism with
several
small shutter drums where the M shutter has one big one.
So the M7 has the same topspeed as most Leica RF models since 1935.
<p>
We should not overvalue the need for faster shutter speeds. While there
certainly is sometimes the need for speeds faster than 1/1000, we
should
note that with ISO100 film and a blazing sun, we need 1/1000 and f/5.6
for
a correct exposure. That will do for most situations and subjects. If
you
wish to use a narrow depth of field that you get when using f/2.8 or
f/2.0,
even 1/4000 will not be of much help.
<p>
Electromagnets and an additional ball bearing!
The electronically governed shutter in the M7 is thus identical to the
one
in the M6 (or M3). Same design, same mechanical components. The speed
adjustment mechanism with the gears, cams and levers has been replaced
by an electromagnet, one for every curtain, that regulates the timing of
the
release of the curtain. What is lacking is the gear train and the noise
of
the gears that retard the second curtain during the slow speeds. Where
you
can hear the soft purring sound of smoothly engaging cogs when using the
<p>
slow speeds on an M6TTL, with the M7 you do hear silence. Just twice a
soft
clicking sound of the braking action of both curtains, the second one
being
a bit louder. At higher speeds, the sound is very close in character
between
the electronical and mechanical versions.
The electronics make the shutter battery dependent. The drain on the
batteries (now two batteries in the compartment) is very modest, but is
still advisable to have a reserve pair in your bag. The fear that the
batteries and electronics do not cope with severe climatic conditions is
not
supported: even in extreme cold the M7 shutter operates without any
failure
and is even more accurate than the mechanical one. The speed dial can be
<p>
moved with one finger and speeds can be set from 4 seconds to 1/1000 and
B
in every direction. All speeds are electronically governed, with the
exception of the 1/60 and the 125 that are mechanical. The choice for
these
speeds is logical: these speeds can be used handheld with confidence and
are
slow enough for many lower light situations, indoors and outdoors.
<p>
This is how it works: In AUTO mode all speeds from 32 seconds to
1/1000),
including the 1/60 and 1/125 are governed electronically and half steps
can
be selected. In manual mode (with batteries), the 1/60 and 1/125 are
governed mechanically, all other speeds are governed electronically. All
<p>
speeds can be selected from 4 seconds to 1/1000. No half steps can be
selected.
In batteryless mode only the two mechanical speeds 1/60 and 1/125 can be
used.
<p>
Sometimes you can read the statement that in the mechanical M-models
(from
M3 to M6TTL) the shutter can be set at intermediate positions and give
accurate speed settings. This is not true. You can set intermediate
positions between the official speeds, but the accuracy of the shutter
is
not guaranteed. In fact it is quite unreliable and cannot be
recommended. In the manual method, the finder shows the familiar diodes
and
symbols of the M6TTL exposure metering.
<p>
In the AUTO position the speeds are set stepless by the exposure meter
to
accurately match the measured lightlevel. Full speed and half speeds are
<p>
indicated in the finder (in the center of the lower part of the finder
where
the TTL diodes reside). The selected speeds are stepless, but one
should
not take that to literally. It is not the case that every possible speed
<p>
setting (1/33, 1/32, 1/31) can be selected, but rather there is a range
of
very small steps built into the chip. So 1/30, 1/35 and 1/40 may be
possible
but not the times within these: 1/31 will be set as 1/30. This level of
accuracy will satisfy even the most critical user and film emulsion.
Calibration of the shutter is done thus: The highest speed (1/1000) is
adjusted, regulated and fixed by the mechanic during assembly. All other
<p>
speeds are automatically correct as they are governed by the small steps
as
set in the Eprom. This level of accuracy needed the one big change in
the
shutter: the main roller now is supported by a rollerbearing. From M3
till
M6TTL the bearing was a plain bearing. The new geometry of forces
necessitates this change.
<p>
The measurement of the shutter speeds.
It makes no sense to measure speeds when the camera has just left the
factory. You then get an idea of the quality control. What is important
is
the accuracy and longevity of the shutter under stress. And as
important as
the speed itself is the constancy of the speed of the traversing slit. I
<p>
measured two heavily used cameras. My own M6 (one full year of use since
<p>
last adjustment) and an M7 (same use). Both had excellent constancy of
travel.
The results are in the table below:
<p>
Departure from nominal speed (+ = slower)
Speed M6 M7
1000 +30 +10
500 +5 +5
250 +5 +1
125 +14 0
60 -4 +5
30 +10 0
15 0 0
8 0 0
4 +5 0
2 +7 0
1 +10 0
2 - 0
4 - 0
<p>
The results for the M7 are very very good, but the M6 is certainly not
much
behind. Differences of 5% to 10% are irrelevant, even in scientific
picture taking conditions and even 30% (for the highest speed) is within
the
tolerance of even the most critical slide film. But such a difference
might
be just visible. For very critical black and white photography the
results
are very satisfactory. The M7 shutter has as advantages the lower noise,
<p>
dead-on accuracy and the facility of automatic exposure control. The
dependence on batteries may be for some photographers a culture shock.
The
mechanical shutter of the M6TTL delivers outstanding performance, that
is
now after decades of tuning and honing at its peak.
<p>
The practice of working with the automatic exposure control.
In the manual position the M7 is identical in operation to the M6TTL
version. But remember that the times are electronically controlled. The
essential change occurs when you select AUTO on the dial. Picture
taking
becomes more spontaneous and even more relaxed. Once not being detracted
by
the need to adjust or even set correct exposure. You start to
photograph on
intuition and emotional response with the subject. Now you can
concentrate
fully on selection and framing of subject and give all attention to
focusing. The primary choice of aperture is essential, as this regulates
<p>
depth of field, selective focus and image quality. The choice of speed
is a
derivative act and as this is taken away from you by the electronics,
you
are relieved from that 'burden'. During my use of the M7 I noted that
many
pictures were focused more precisely and accurately. And in border
situations the exposure was improved too! Specifically in situations
with
constantly changing light levels (street scenes with sun and clouds,
shows,
circus scenes) and scenes with severe lighting contrasts (dark spots one
<p>
moment, contre-jour the next moment), where the quick selection of
subjects
in differing conditions is needed, the AE is a gift from heaven
(actuallly
from Solms).
I am convinced that this topic touches the heart of the matter: with the
M7
you can fully concentrate on the subject and only select the focus
plane.
This is a very relaxed way of picture taking, still being in control of
all
important decisions and trusting the electronics where appropriate. The
M7
should be close to Barnack's vision: spontaneous and carefree
photography
with a sensitive eye and emotional involvement. The photographer
controls
the important aspects and makes the decision. The camera follows and
supports.
The M7 is a true Leica: the clear and large finder, fast and accurate
focusing, the smooth and direct action trigger and the civilized
clicking of the shutter: all is there.
Time lag.
Leica did a good job here: the response times of the electronics are
very
fast. The time parallax between pressure of the shutter release button
and
firing the shutter is 12 milliseconds (12 -18 ms with the M6). Compare
this
with the Konica Hexar RF (100 ms) and the typical single reflex camera
(above 125 ms) and the current best digital cameras (400 to 1500
milliseconds) and you will understand that Leica designers know their
job
and are very dedicated to support the M-style of photography. The
decisive
moment is still the area of choice for the M7.
The travel of the release button is identical to that of previous
models.
There is some tolerance here. Travel distance varies from 1.9 to 2.1 mm.
<p>
So it might be possible to have an M7 with a slightly shorter stroke
than
an M6TTL. The M7 I used had a 0.1mm longer travel than the M6. But this
is
not structural, just within the tolerance band. The AE lock is very easy
to
use and convenient. The camera, in AUTO mode, measures the light
continually. So if you move the camera over an area , you will see the
speed
indication in the finder changing all the time. Point or hold the camera
to
that part of the subject that is representative of the illumination you
want
to have metered, and lightly depress the release button. The meter
stops
measuring and you see a small point between the indicated speed digits.
(With 1/1000, you see 1°000; with speeds from 1/750 to 1/125, it is x°xx
<p>
and with the rest it is xx). Hold this, recompose and press the
button. If you do it fast, you will see the AE indicator dot flashing
for a moment.
The functioning of the exposure meter.
The M7 now has a on-off switch as a collar around the release button. No
<p>
longer can and will you trigger the shutter when the camera is put into
or
pulled out of the camera bag. Switch the camera on and for the first two
<p>
seconds the warming up cycle starts and the selected ISO speed is shown
in
the finder. After that period the camera measures continuously the
light
level. The camera is immediately ready for exposure when you fire the
shutter with a preset aperture or after selecting an aperture before
making
the picture. These measurements take very little current. Again we see
the
care of the designers to provide the same speed of action and user
support
as in previous models: The selected speed is indicated in the finder
(where
normally the diodes are displayed) with full and half speeds (as
example:
30, 24, 15). The numbers are red and consist of a group of 33 LED
segments
(as in your calculator) on an area of 0.7 by 2.3 mm. The enlargement in
the
finder is 15 times, and the brightness of the LED is variable according
to
the ambient light level. Fitting in this array in the confined space of
the
M finder is a major feat for the Leica engineers.
Exposure metering itself is not changed: it is still the familiar and
proven
method of measuring the light reflected from the whitish spot with a
diameter of 12.1 mm on the shutter curtain. The corresponding area on
the
film plane is always a circle with a radius of 6mm (image height). The
measuring spot is often described as (semi) spotmeter. It is however
best
described as a center-weighted integral metering pattern. Results do
indicate that the meter response is close to this time honored method
and
the M7 is even a bit more accurate.
New in the M7 is the automatic DX coding, and now you cannot forget to
adjust the film speed dial when changing film. The dial now doubles as a
<p>
manual film speed setting and an override from +/- 2 stops in steps of
0.3.
The great leap forward is the automatic exposure control in the M7. Not
a
big step in itself actually. Most cameras have this facility since many
years.
The Leica user however wants to stay in the style and feel and results
of
the classical M-photography and this often clashes with automation
services. The M7 is 100% pure Leica M with AE that fits seamlessly into
the
classical M-style. Take pictures with an M6 and then switch to Konica
Hexar
RF or Contax G2. You will have a long period of adjustment and a steep
learning curve to change your way of picture taking. The switch from an
M6
to the M7 is without any threshold.
I used both cameras at the same time and could not notice any difference
in
style or approach.
With one exception: the added freedom that the AE gives you by taking
care
of exposure, allows for such spontaneous, intuitive and intimate picture
<p>
taking the M-photography one step closer to perfection.
<p>
Slower speeds.
In B-position the time period is counted upwards (from 1 second to as
high
as you like) and indicated in the finder. This is very useful and now
there
is no need to look for some light to illuminate your watch dial. In
automatic position the meter can set speeds till 32 seconds. These
speeds
are indicated in the finder too, but now counting downwards. The
sensitivity
is the same as with current TTL models (EV -2 at ISO100). The M5 had a
sensitivity threshold of EV1.
<p>
Flash synchronization and TTL.
In order to use the TTL measurement, the shutter speed of the M7 must
be
set to 1/50. With this speed the TTL functions correctly with
dedicated
flashguns (SCA-3501/3502) and SF20.
With the new Metz 54 MZ3 a High Speed Synchronization can be used. The
HSS
function operates only with the combination MZ and M7 and now the faster
<p>
speeds from 1/250 to 1/1000 can be selected too. The MZ3 works in
manual
mode only (not in Auto) and as the speeds of 1/60 and 1/125 are
mechanically
operated when using the speed dial (manual mode), the flash cannot be
activated by these speeds. You can choose between synchronization on the
<p>
first or second curtain. With the MZ 54 we can at last use fill-in flash
on
location with higher speeds and wider apertures. For many this function
<p>
will be of great value. Others will see it as unimportant as the
M-domain is
the available light photography. This however is too narrow a
perspective.
Luckily any photographer now has he choice to use the M as is required.
The
automatic TTL function is not supported with the 54MZ3 (only with the
1/50
or slower). At the HSSspeeds the user has to set it manually and this is
<p>
quite easy and fast.
No the HSS is not usable with mechanical-shutter Leica's. The flash
expects
to receive specific electronic signals for proper functioning and the
mechanical shutters do not have this signal.
<p>
The finder.
The finder itself is not changed and all three versions (magnifications
0.58, 0.72, 0.85) will be available. The shutter indications have
variable
brightness dependent on ambient light levels and are very clear but also
<p>
very civilized: they do not distract as they are positioned normally
just
outside the visual area of the user. The accuracy of the finder is very
high
and till 90mm not challenged by the reflex camera. I would note that
even
the 135mm can be focussed more accurately as the M-rangefinder uses the
principle of visual acuity that is more accurate than the contrast based
<p>
principle of the groundglass focusing.
Everything can always be improved. The finder windows have an
anti-reflection coating that diminishes clearly the flare of the
rangefinder
patch that occurs in some situations when strong light sources are
shining
obliquely into the finder.
<p>
The mechanical parts.
The shutter has been improved and changed substantially. In addition the
top
cover is now machined out of one piece of brass. The slow speed
geartrain is
gone, but electronics have been added. The total weight has been
increased
to 610 grams (10 grams more than the M6TTL) and the Leica R6.2 has a
weight
of 625 grams. The weight of the M7 adds to the stability when using
slow
speeds and is also an indication of the solidity of the engineering and
the
ample use of steel and glass. M3 cameras from 1954 are still functioning
<p>
perfectly after more than 50 years of use. They have a working life of
at
least 50 years and with some care will function for the next 50 years
too.
The M7 would be able to function till 2102 at least. That would cover
three
generations of photographers. The shutter is designed for 100.000
pictures
before showing any sign of wear! You can shoot 2700 rolls of film before
you
could detect any tear or wear in the moving parts.
There is additional room in the body to accomodate two batteries and not
the
one battery in the M6(TTL). Both batteries are above each other.
The Leica camera has a well-deserved reputation for longevity,
engineering
excellence and reliability. That does not imply that a new camera can
never
malfunction or even has some manufacturing defects. Sometimes the
occurrence
of these faults has been used to support the view that the current
products
from Solms and Portugal are not as reliable or manufactured to the same
<p>
high standards as when the M3 was made in Wetzlar.
Based on a study of the production methods, material selection and
material
treatment, the assembly and quality control in Portugal and Solms you
are
entitled to a very high level of expectation about engineering quality.
On the other hand we should realize that the camera is mainly manually
assembled by highly motivated individuals, but where humans work, humans
<p>
will inevitably make mistakes, however tight the inspections and quality
<p>
assurance.
<p>
The rangefinder landscape.
What is the position of the M7 in the rangefinder landscape compared to
Hexar RF, Contax G2, Bessa-family and the M6TTL?
The M6TTL is almost identical to the M7, but without AE, the improved
shutter and the coating of the finder windows. But the M6TTL has the
fully
mechanical, battery-independent shutter and a lower list price.
The Hexar RF lacks the TTL function, has the integrated motor/shutter
assembly with a topspeed of 1/4000, and a very fine finder, but with a
very
detracting array of lights and symbols in the finder area. The RF has a
very
significant time lag too. The linup of lenses is small, but very good
and
the new 21-35 Solms with two fixed positions is quite interesting.
The motor has the additional role of compensating for the time lag,
which
is not the best way for the decisive moment style of photography. The
Hexar
is a most interesting camera, that tries to be a bridge between
classical
and more casual styles of photography.
The Contax G2 has aspirations that are quite close to the ones of the
Hexar
(same shutter assembly, same type of body), but use Af as the bridging
function Here we find a Solms from 35 to 70mm that can be set at all
positions. The finder of the G2 is the worst part, as is the manual
focus.
The AF however compensates for the finder.
The Bessa R and R2 are made from a mix of an slr chassis and the CL-type
<p>
finder. The chassis offers exposure metering, set manually as with the
M6(TTL). The CL finder is limited in its functionality and accuracy.
While
the specs are impressive, when related to price, the assembly of two
separate philosophies is not convincing. The Bessa, while delivering
the
goods for a surprisingly low price, lacks character.
<p>
To sum up.
The M7 is an important mark in the history of the Leica. The
integration
of electronic exposure automation in the classical body shape, gives the
<p>
experienced Leica user a smooth migration path and transition to even
better
photography. You need to give yourself the mental space to reflect on
Barnack's ideal of a fast, effortless, intuitive and compact high
quality camera.
When you get used to the M7 will forget about the manual exposure.
Photography with the M7 is a joy and a very pleasant and relaxed way of
picture taking. I noticed that I started to make more pictures than
with
my M6, especially in conditions where you have trouble to react to
quickly
changing light levels. Often you do not take the picture of a fleeting
moment as the correct exposure takes some time and then the moment is
gone already.
With the exposure automation, TTL function, the HSS add-on and the
classical
feeling and use of the M6, the M7 covers a very broad spectrum of
photographic possibilities.
<p>
The illustrious predecessors of the M7.
The Leica 0-series.
Leica is the only manufacturer, that sells the first product from 1924
in
almost identical shape and specifications. As if Ford would still have
the
T-Ford in the catalogues. Who wants to know what is was like to take
pictures with the original Leica and to taste how people were involved
with
photography 75 years ago, can buy/use the current 0-series. Here we
have
the Barnack-camera, as the master-designer has created it. A very
compact
camera with a minimum number of features and functions, and an extremely
<p>
high level of mechanical precision. Next to the 0-series, the M7 looks
big,
but shares the same feeling. Inside the camera, there is hardly
anything.
A shutter with two non-capping curtains, a transport drum, a release
button
and shaft, and a rewind mechanism. The Leica was designed for fast and
quick
picture taking and the transport knob is incredibly smooth and without
resistance. If you ever want to feel high precision engineering at its
best, try to advance the film in the 0-series.
The practical use.
The Leica 0, lens and finder closed fits into a pocket of the then
ubiquitous jacket or coat. With a weight of 465 grams (lens included),
and a feline shape and feeling, (every part and shape of the camera is
smooth and
rounded), handling the camera is a joy. To take a picture you pull out
the
lens, and open the two part finder (a fold down window with a negative
lens
and a folding peep-sight). The shutter is tensioned with the rubber cap
in
front of the lens (to prevent light reaching the film). Shutter speeds
are
from 1/20 to 1/500 and can be set only when the shutter is in a certain
position, indicated by an index mark on the speed dial. It is best to
set
the shutter before making the picture and tensioning the shutter. You
look
through the finder with the camera held at a distance of 25 cm from your
<p>
eyes. This was a familiar act in those days. Most cameras were operated
away
from the face. The later development that the camera becomes an
extension of the eye is a true revolution in camera design. Most digital
cameras are also
used from a distance to look at the display.
This is the routine: open finder and pull out lens, guess exposure and
distance, take away lens cap, hold camera at 25cm distance, select and
frame
subject, press release button, put lens cap in front of the lens,
transport
film and tension the shutter.
With some experience it works faster than can be described.
Essential difference with the M7 is the pure and dedicated attention to
the
core business of the photographic process. Guessing the distance and
exposure, the deliberate decision of the aperture/speed combination that
is
needed in this situation and the careful framing of subject and timing
of
the picture in anticipation (no second chance) are required to complete
the
photographic act. We do it intuitive now, but then it was a conscious
act.
Being involved with the process in such a way is back to the roots and
it
gives additional meaning to Cartier-Bresson decisive moment. The
excitement
and expectations that people must have experienced when making those
valuable pictures returns. The magic of photography as the art of fixing
the
shadows returns in the blood.
Photography with the Leica 0 is like being in a monastery for
contemplation
and to reflect on your inner self.
Photography started as a mechanical process to reproduce accurately the
world around us. With the 0-series you know why that was exciting and
rewarding.
The Leitz Anastigmat 1:3.5/50mm is a new design that in its capabilities
<p>
challenges the Summicron-M 1:2/50mm. It is, like the predecessor, a 4
element lens, but now the aperture is symmetrically located between the
<p>
second and third lens(group).
With aperture 6.3 you have some latitude in guessing the distance as at
3 meter you have depth of field from 2.43m to 3.94 meter. Guessing the
exposure is made easy as there are only 5 speeds to choose from (1/20,
1/50,
1/100, 1/200, 1/500). There are 5 exposure types from clear sun to dark
and
clouded and you need to memorize the shutter and aperture settings for
each
of them. The Leica photographer had to stop taking pictures when the
light
is down to aperture 3.5 and speed 1/20. Here too starts the really
difficult
guesswork for the exposure. Leica photography is the catching of
fleeting
moments from strange perspectives with a handheld camera, crossing the
dividing line between documentary and surrealistic photography. That is
true
Leica photography and the 0-series started it all.
The M3.
Thirty years after the 0-series, the M3 arrived on the scene (1954). A
true
revolution it was. A radical departure from the then reigning
III-series:
crystal clear 1:1 finder with frame lines from 50 to 135mm, finder and
rangefinder combined, bayonet coupling for lenses, advance lever, it
took
the world by storm. This masterly design by Herr Stein is not based on
the
Leica IV as is often reported, but an independent construction by Stein,
<p>
created in 1943. The camera was so new and advanced that it would have
taken
the competition several years to catch up. As the rangefinder market was
<p>
already under attack from the slr camera, the competitors (Zeiss, Canon,
<p>
Nikon) decided to jump on the slr bandwagon.
With high speed lenses, and shutterspeeds from 1sec to 1/1000 and an
extremely fast rangefinding mechanism, the M3 evolved into the best
camera
for dynamic and close range human interest photography. But landscapes,
portraits and even glamour (Hollywood) were part of the Leica domain.
The M3 is still a utterly useable and very capable instrument. In fact
the
M2, M4, M4-2, M4P and even M6 are simple extensions from the basic body.
M6
has internal exposure metering, but that was already available in the
M5.
The M3 was a revolution compared to the III-line. And the M5 was a
radical
departure from the M3 family.
The Leica M5.
With the M4, Leica has maneuvered themselves into a corner without
growth
potential. Small improvements were possible, and the external coupled
exposure meter, was not the best nor an elegant solution to the growing
demands for easy exposure metering. The M5, from 1971, tried a novel
solution and departed from the family line. There were many
revolutionary
changes in the M5, including the famous two flat retainers for the
shoulder
strap, the metering though the lens with a moveable metering cell in
front
of the film plane, and a shutter that could function till 30 seconds.
The
smooth top cover with the large special that could be adjusted with
one-finger, the smart indications in the finder , it all added to the
concept of a new era in rangefinder design.
Mechanically the M5 was superb and functionally very impressive, as
Leitz
had used all the experience of 50 years of mechanical engineering and
rangefinder expertise to create the M5. The disappointment that the M5
did
not move the market as the M3 had done, killed almost the company. As
with
the R8, the M5 is a user camera and a very convincing one. It is not a
design beauty. The flat topcover, the location of the transport lever,
the
front of the rangefinder area, it all gives the camera a somewhat
squatted
look. Functionally it is one of the best Leicas ever. Form follows
function,
was the idea in Wetzlar in those days. But the elegance of the M3 was
lost.
The M5 was functionally the better product. With the M5 ended the Leitz
hegemony in rangefinder camera design. The successors, including the M6,
<p>
returned to the M3 roots.
The new M7 is again a radical change from the current line. And so the
M3,
M5 and M7 are from this perspective the real milestones in the M
development.
<p>
Erwin Puts
