Camera Matters

In the recent months, the ‘M9 fever’ seems to be spreading among people around me.  I’m not an experienced Leica-user, and definitely not a Leica evangelist.  But quite a few friends and people I know have either taken interests in the M9, or have already bought one.  I can’t help but wonder what makes the M9 so special.

Perhaps it’s the attraction of the rangefinder, or the fact that there are plenty of lenses, old, new and for every budget, available for the M9.  Or is it merely its classic appearance, and pure bragging rights?  Well, it is difficult to say.  What I can say, for me, is that the M9 seems to allow me to shoot more seamlessly than other cameras I own.  It doesn’t get in my way, nor my subject’s way when shooting.  How do I know this?  Recently I brought my DSLR out of the cabinet, along with a few prime lenses.  I had not used it for a little over a year since I bought the M9, mostly because of its weight and bulk.  Well, that has not changed much since it’s still the same camera.  My ‘default’ f2.8 zoom is now gone, and I’m left with two primes (one AF, and one MF).   So the kit maybe fractionally lighter, but its bulk remains. 

After several days, and a few hundred shots later, I’m vividly reminded why I stopped shooting DSLR.  It’s certainly not because of its poor image quality, far from it, in fact.  Image quality, IMHO, is second to none.  In some aspects, it’s superior to Leica M, namely in noise, and dynamic range in high ISO.  Be it manual or auto focus, DSLR can be just as fast as a Leica M.  So that’s not really a problem.  Sure the default focusing screen is not a split-screen type like old film bodies, so you rely more on the green light to confirm focus.  It’s not exactly inferior to rangefinder, IMHO, it’s just different.

My main reason for not using DSLR that much is the imposing size and mass of a pro DSLR.  Imagine yourself being photographed, you see a photographer approaching with a big black mass and a sub-bazooka-sized lens.  Fire a few shots, and the mirror swings and clicks audibly.  It can be quite intimidating being on the other side of the lens.  What else? The menu hierarchy is also perplexing with too many settings for, what I think, too many buttons on the camera.  Oh, and there’s that weight on my shoulder.  That’s it.

However, I’m quite sure that many others think just the opposite.  Its bulk offers sturdiness and ruggedness that are not commonly found in smaller cameras. The continuous shooting speed is perfect for action shots, while the comprehensive menu offers granular adjustments to suit every need and style of photography. 

I can also say a thing or two about compact cameras and Micro Four Thirds (MFT).  The compacts, being relatively inexpensive, usually come with lower expectations from the users. MFT system, however, can be costly depending on lenses, and models.  Many compacts can now shoot RAW, and have very fast lens up to f1.8 on some models.  Sure, they have their limitations like AF speed (less suitable for action photography) and noise in high ISO.  MFT system promises more and this is where trouble begins.  The format is not exactly new, yet there is only a limited selection of lenses for MFT bodies, namely from Panasonic and Olympus.  Not only is the selection of lens is small, the two companies are asking big money for their glasses.  Yet, theses lenses are only average in performance, while in some cases, are tied to manufacturer’s own bodies for optimum results.  Last but not least, there’s no optical viewfinder for MFT system.  Olympus EVF is a great example, but it’s still electronic, and makes the camera bulky. 

The bottom line is that you must choose a camera system that suits your style of photography most.  There's a good chance that the lightest and smallest system isn’t your best option.  If you like the speed of DSLR, its superior noise suppression, and vast lens selection, get the smallest DSLR that meets your needs.  You will have to live with the weight and bulk to get the pictures you want.  If you don’t need big zooms, fast AF, and if you’re fortunate enough to afford the M9, go for it.  But you’ll have to get used to the manual focus, a slightly different way to meter and to compose, and a good chance that your sensor will collect dust in no time.  Maybe your style of photography is suitable for MFT system where you enjoy good quality photos (that most compacts cannot deliver) with minimal weight and equipment to carry.  Don’t forget that most of the time, it’s the person behind the camera that matters most. 

The following set of images are taken with different types of camera, from compact, Micro Four Third, APS-C, full-frame DSLR, and the M9.  As long as they let me shoot what I want and how I want, I have no problem.  Unfortunately, some of these cameras did not deliver the user experience I had expected.  For me, what matters most is that a good camera should work with the photographer, enabling the photographer to make the right exposure at the right moment. Happy shooting!

Wisrute

One Wedding and A Leica, Part III

This must be a great year.  I don't remember having so many close friends getting married in the same year like this.  It's also great because I can now bring a real camera (other than a compact) to the wedding and stand a  chance of getting a few good shots.  This wedding is slightly different than the one earlier few months ago.  There are three separate events from the traditional Thai engagement, the church ceremony, and the evening reception.  The major different, though, is the size of this wedding which includes all the big names in business.  This alone entails a rather large group of hired photographers and videographers throughout the three events.  Which means getting a few good shots can be a little tricky, to say the least.  

Going to the wedding, I want to keep the M9 light so I can also keep my kids in check and mingle with friends without having to worry about my equipment.  So after some thinking, I decide on the following: 

Engagement ceremony - (held in confined space without too many guests - and, boy, was I wrong about that one) M9 + Zeiss ZM 50/2.0

Church ceremony - M9 + Noctilux for that low-light, magical background rendering, making the most of the church environment

Evening reception - Lots of people, low-light, M9 + 35 Summilux to handle low light and group photos

The biggest challenge, for me, shooting this wedding was the videographer who frequently swoops around the couple with his Canon DSLR, trying to shoot video footage.  This is an additional video to the main video camera.  I'm sure the photographers (from a different studio) were equally frustrated with him. Sometimes I wonder if the wedding photos / videos are actually more important than the wedding itself.  

Well, the final results are posted below.  Another confirmation that the M9 is truly a superb equipment that doesn't get in the way like big DSLR would. I hope you like them as much as I do.  

One of the better formality shots. My friend, the groom, seems tensed most of the time.

Just as the ceremony finishes, the couple is much more at ease.

The church exit fills with swooping videographer and other photographers.

I struggle with the Noctilux focusing here but the images are not too bad.

I like this candid shot of the groom.

The next couple to be married in November!

I pre-focus the 'Lux to shoot from my waist level. A fun shot of a friend of mine!

An evening formality on stage.  I love the contrast and how the backdrop is rendered.

A very happy couple cutting their wedding cake!

A small surprise from the groom who requested his cousin (a singer) to sing a special song for his wife.

Have a nice weekend,

Wisrute

M Lens on Micro Four Thirds

It is an attractive proposition to have high quality optics mounted on a small camera body like the recent MFT models such as Panasonic GF-1 or Olympus EP-L1.  But does it really work? Here, I test a few M-mount lenses that I have on the EP-L1 just to see how they work when used on an MFT body, at twice the intended focal length.  I choose the EP-L1 (rather than the EP-1) because it renders a little sharper JPGs than its bigger brother, EP-1.  It's also a little easier to operate the EP-L1 in manual focus than it does on the EP-1.  The two lens, ZM Planar 50/f2 and Noctilux f1, have been selected to compare their characteristics both on a MFT and a full frame bodies.  To be clear, I'm not looking at them from the price point, my only intention is to illustrate how they render the photos from different camera formats.  I will not do the 100% crop either because it's too much work for an amateur like me.  There's plenty of that already posted if you google a bit.  (Please excuse the changing lights as I don't own a studio!)

Noctilux on EP-L1 @ f1.0 (100mm Equiv.)

Noctilux on M9 @ f1.0 (50mm Equiv.)

At the widest aperture, the Noctilux f1 produces pleasing result on a MFT format.  Its softness, a well documented character of the Noct at f1.0, can be seen in both photos.  Only when used on a full frame, the Noctilux produces its signature swirly bokeh.

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Noctilux on EP-L1 @ f1.4

Noctilux on M9 @ f1.4

Stopping the Noctilux down one stop to f1.4, it sharpens up slightly but still maintains a pleasing soft background on a MFT format.  On a full frame, its bokeh remains creamy and unique.  

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Noctilux on EP-L1 @ f2.0

ZM Planar on EP-L1 @ f2.0

 

Noctilux on M9 @ f2.0

ZM Planar on M9 @f2.0

At f2.0, I also test the ZM Planar 50/f2.  On a MFT body, the Zeiss really excels in sharpness and it's not just in the center.  The Noctilux, sharpens up from f1.4, but it is still slightly softer compare to more modern lens.  Examining a shaded area of the two photos, the ZM Planar yields higher contrast than the Noctilux does.   For the bokeh, the ZM Planar isn't quite as soft as the Noctilux, but is still very pleasing.  But again, we're talking about a $700 lens versus a nice used car.  

On a full frame, both lens perform extremely well, producing sharp images with different bokeh renderings.  (I didn't quite nail the focus on the Noctilux, it seems.) Because the ZM Planar is shot at its maximum aperture, it still produces a slight swirl in the bokeh even at f2.0.  

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Noctilux on EP-L1 @ f2.8

ZM Planar on EP-L1 @ f2.8

Noctilux on M9 @ f2.8

ZM Planar on M9 @ f2.8

At f2.8 on a MFT body as 100mm, the ZM Planar appears to be slightly sharper than the Noctilux.  Using them at 50mm on a full frame, they're equally sharp.  At this aperture, the bokeh differs less between the two lenses.  Looking closely, the ZM Planar renders the bokeh a little more clinical than the Noctilux.  This is likely a result of a more modern lens and optics design.  They're both nice and pleasing.

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ZM Planar on EP-L1 @ f4

Noctilux on EP-L1 @ f4

Noctilux on M9 @ f4

ZM Planar on M9 @ f4

At f4.0 the Noctilux is extremely sharp, and so is the ZM Planar.  The bokeh are also equally pleasing.  Keep in mind that the ZM Planar is much smaller, lighter, and less expensive!  As a 50mm, both exhibit good sharpness and maintain dimensionality to their images well.  With a slightly higher contrast rendering, the ZM Planar seems to separate the subject from its background slightly better than the Noctilux here.  (More review of the ZM Planar is on its way.)

My final observations go to the fact that when an M lens is used at double its focal length, the only clear benefit to be had is its sharpness.  I'm not a fan of how the bokeh is rendered on a MFT body, but others may beg to differ.  It is clear that when these lenses are used at their intended focal length, they perform best in sharpness, bokeh rendering, and yielding that desirable dimensionality to the images.  The Zeiss ZM Planar 50/f2 also exhibits some very admirable qualities here.  It's such a small and compact lens, yet it performs well beyond my expectation.  


Wisrute

One Wedding and a Leica, Part II

Last week, I attended the wedding reception of the wedding in the series below.   I brought along my M9 with the 35 Summilux to keep it as light as possible while allowing for some low light shoot.  This time I shot the whole series in RAW without parallel JPGs.  They were later converted to black & white to match the rest of the pictures.  

Having seen and processed the pictures, I'm very satisfied with what the M9 has enabled me to shoot.  Its compactness and superiority for low light scenes are miles ahead of DSLR.  Sure there are a few blurred shots, but they still look great! IMHO.  The mood, the faces, and their expressions are unlike any other pictures I'd made with other cameras.  Maybe this is another Leica magic?

There are two more friend's weddings (at least) this year, and I'm already planning to bring the M9 along again.  Enjoy the photos, I shall let my pictures do the talking.  

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Memorable moments.

Guys gang after the reception.

Happiest mothers of the night!

My friend and his daughter having a good time.

And the happiest couple...

Wisrute

Putting "Magic" into Leica

The word "Leica" and "magic" are frequently used together in a sentence by many.  I don't know if there's a better word than magic to describe Leica images.  Over the years, I had not paid much attention to Leica images until recently.  There's something special about the way the lights are captured and rendered in those images.  The magic of Leica, I believe, lies largely in their very special lenses.  As special as their cameras may be (and they truly are), it's the lens that paints the images.  


As my interests in Leica grew, I started browsing the internet for more and more images taken with Leica cameras.  Many of them possess that dreamy and painterly look that is unique to Leica.  Later I discovered that there's one particular lens, the Noctilux, that is renowned for this special quality.


Many have written about the Noctilux, its history, quality, and the different versions over the years.  I'm not even going to try.  One version that I find most interesting is the last series of the f1.0, before Leica replaces it with the f0.95 version.  The optics isn't technically perfect since its root dates back quite a few decades.  But the refinement over the years have made this f1.0 a truly unique lens.  The bokeh of this lens is truly unique in a sense that it almost has a signature look to it.  At f1.0, it renders the bokeh with a swirly effect and the focus area remains on the soft side, much like older cinema lens would.  Stopping it down a few clicks, and it sharpens up while keeping a watery-smooth look in the bokeh.  This quality seems to be missing in the new and technically superb f0.95 version.  


Late in 2009, luck came my way when a used 6-bit coded Noctilux popped up in the local market.  I didn't even have the M9 when I decided to buy it.  The seller showed me a few shots he had taken with the lens, and I tested the focusing on his M6.  After some more inspection, we had a deal.  No matter what camera format you normally shoot, the Noctilux is a heavy lens.  By Leica standard, it's huge!  By DSLR standard, however, it is on the 'normal' side.  Focus throw, on the other hand, is quite long and it takes time getting used to unlike Leica's smaller "Lux" and "Cron" lenses.


I started shooting the Noctilux on Olympus EP-1 before my M9 arrived.  Even with Micro 4/3 format, I was already impressed by the images.  But not until I shot the Noctilux on the M9 that I truly appreciated its special quality.  For some, the Noctilux will remain an occasional lens.  For me, I don't really mind carrying  and shooting with it.  Most of the time, I shoot the Noctilux between f1.4 - 2.8 so that the images remain sharp with silky smooth bokeh.  I shoot at f1.0 only when it's very dark, or when the swirly bokeh is desired.  For me, the Noctilux will always be the definition of Leica magic.  There are other great Leica lenses, no doubt, but the Noctilux has its place secured in the history book.

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This photo must have been shot at f2.0 or so, note three dimensionality and the creamy bokeh.  

One of my early shots with the M9, testing out the Noctilux.

"Salute!"

One evening, we had to pick up our son from the boy scout camp at school.  This teacher in the photo also taught me years ago, so it was really special to see him working, still!

"Star Spotting" - This shot was made in near total darkness (later adjusted in Aperture). I came away impressed with the ability of the Noctilux.

A recent photo taken at a local concert, showcasing the warm glow of Leica lens.

Hope you enjoy the photos,

Wisrute