Archived posting to the Leica Users Group, 1996/08/19
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Other than its Minolta origins, I am curious to know what it is about the current Leica R system body that many in the photo community regard as a cut, or two, below the best (e.g. less rugged). My first camera was a Minolta SRT-101, which I liked very much. Next was a Nikkormat, the most rugged, indestructible piece of photo gear I have ever owned (the 85mm/1.8 Nikon lens that I used as a primary lens was one of the sharpest lenses I have ever seen). Next came two Nikon F2 Photomics -- trouble with the meters, but the best feeling, albeit heavy, 35mm camera in my hands. Next came a Nikon FE, brother of the acclaimed FM. In terms of construction, this camera was several cuts below older Nikons -- very light and compact, but subject to a variety of electronic problems. In the early years of autofocus, I purchased a Leica R6 and an M6. I have always loved the feel of the R camera, probably because I grew up with SLRs. The R cameras work beautifully, feel good in the hands, are very quiet, and while simple to use, provide more information through the viewfinder than M's. Even I can tell, however, that the R's are not quite on a par mechanically with the current M6. I also own a Canon EOS-1n. While the Canon is an incredible picture-taking machine and the Leica M is compact and jewel-like in its operation, I would have more trouble parting with the R6 than any camera I own. I enjoy the feel of the camera, its balance between simplicity and features, and the quiet, yet solid, sound of its shutter. I realize few will agree with the above, but it forward nonetheless as conclusions from my own experience. * * * * * * * * * * * * * * * * * * * * * * * Sent from Designlink, San Francisco. Online Service for Creative Professionals. Modem: (510) 933-9676; (510) 845-4187; (415) 241-9927 Internet: Via TCP/IP PORT: 3000; IP: 206.14.15.3 WEB: http://www.designlink.com * * * * * * * * * * * * * * * * * * * * * * *