[Leica] Suggestions for Europe Trip- beware, got carried away ;-)

[firkin <firkin@netconnect.com.au>]

> Luggers -
> 
> I need your sound advice for an upcoming 14 day Europe
> Trip that I'm taking with (cringe!) a tour group.
> 
> To provide you with a little context, I will be
> traveling to London, Paris, Lucerne, Innsbruck, Rome,
> Florence / Tuscany, and Venice.
> 
> I currently have the following for my core leica
> equipment: 2 M6's, 35/2, 50/1.4, 90/2.8. I also
> purchased a Sony S70 digital camera for other shots..
> 
> What are your recommendations for the following:
> 
> 1) Color Print Film (B+W is a given)
> 
> I'm not sure whether I should get more Fuji NPH 400 or
> Reala 100. I've heard that many of the museums do not
> allow you to take flash photos, so it would make sense
> for me to get a faster film, but I give up some on
> grain.
> 
> 2) Tripod
> 
> I currently have a Bogen 3221 with 3030 head, that I
> use primarily for my 4x5. I'm definitely not into
> lugging that around, and am considering the following
> setup:
> 
> 1) Bogen 3001 with 3030 head, or:
> 2) Monopod, or:
> 3) Small budget Slik U8000, or:
> 4) Smaller budget Slik Compact, and/or:
> 5) Mini Tripods
> 
> In addition to weight as a factor, I've also heard
> that most museums won't let you take a tripod in the
> building.
> 
> 3) Wide Angle Lens
> 
> I'm contemplating the purchase of a 24 or 21mm M Lens,
> in order to capture everything. One of my concerns it
> that the usage will not justify the cost (possibly
> $1500). 
> 
> 3) Any other things you would suggest???
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G'day Peter,

there is a lot here ;-) The first thing to do is not apologise about being
on a tour. There are many fantastic tours, which allow the "tourist" access
and efficiencies, which are not otherwise easily obtained. There is a down
side however ;-)

The first thing I do, is buddy up with the tour leaders, ask lots of
questions, and make sure they understand your "needs" photographically. Once
the group know how "dedicated" you are to good street and travel
photography, they will support you (as long as you do not become the
perpetual straggler, who holds up lunch). There are usually like minded
people on the tour, and although at first it may seem that you could form a
"block", I find this only upsets others. I avoid other keen photographers
during the day (happy to socialize after "work") and look to 'befriend'
others, and try to involve as many people as possible in my passion.
Usually, there are others who seek help and advise, which I give as
generously as possible. I help with loading film, and quite often end up
supplying batteries and spare film to enthusiastic but under prepared fellow
travellers. Soon I find that the tour is being more tailored to the
photographically bent and even the drivers join in, suggesting interesting
routes and more out of the way options. I make sure I know the route and
daily routine very well, and look at manipulating the programme to allow me
maximal high quality time, and minimise post card views. Its not perfect,
but if you really look for opportunities, they will arise.

As for gear, now here's the rub. I agonise over what to take every time, but
in the end you have to make some golden rules for yourself. For me, almost
every journey I've made is recorded more or less on Kodachrome. This gives
me a focus, a longitudinal record/consistency, and limits some of those
annoying decisions. I also fell in love with the Rollei TLR as a travel
camera back in 1991 on a tour of Egypt, and now cannot "travel" without it.
Kodachrome makes my X-Pan less useful, though if I used print film all the
time, it would be hard not to use it more often (although its very limited
by the speed of its lenses). Then there is the problem of M's or R's. My
wife uses R's, so sometimes it is best to travel with one system, but the
M's are soooooooo good for street and travel work, that I am still trying to
convince her to change ;-) The Z2x comes as a matter of course.

You are in the lucky position of having M's -- the best all round choice for
any journey in my opinion. If I was you, I would load one with b/w and the
other with Kodachrome. For me I usually decide that I can make b/w from the
slides later, and would therefore put KC 200 in one and KC 64 in the other.
I would then have the longer lens on the fast film back, and the wider lens
on the slower. (remember I usually have the Rollei loaded with b/w, so I'm
less worried about b/w in 35). I spend weeks walking around the house
practicing my M technique especially with the 35. I make sure I can focus
the lens without looking at it, and I have both cameras set for the dominant
light (I can then open up the lens a stop for shadow etc without having to
refer to the lightmeter for every shot. Of course for buildings etc, this is
not needed, but it sure makes you a lot faster "on the street".

Supports are hard. In a group, tripods are difficult, but if you have
"buttered" them up well enough, and take some "group" shots on the pod, it
will be accepted. M photography is not really tripod in "style". I love
using a monopod, and the best travel support I've ever found (for all round
versitility) is the Cullman magic -- It is a full sized tripod, sturdy
enough for an M in "still" weather, converts to a useful monopod, and folds
"flat" and can therefore can be carried in a pouch pocket on the back of a
photo vest (personalised by Helen). Great little purchase !!!!

Digital; I've been tempted, but the real problem here is -- what if you took
your only "great" image on 600x400 digital resolution. The other issue for
me is practice. I find I work best with one set up, and switching between
video/digital/analogue would kill my creativity. I find that I need to focus
my attention to get the best out of the equipment, and distractions would
only "bugger" me up. I would carry the Rollei instead. It is the best travel
camera I've used. Silent, inconspicuous in use (if not in stature),
outstanding images and reliable it is just great for people photography, and
for "sneeking" images. Even with it, however, I find that it is best to use
it or the 35, not both at once, so when the bus stops, I make a quick
decision of the likely opportunities, and leave either one 35 or the Rollei
behind on the bus.

Wide angle; do not hesitate. You must have one. I would go for the 21 asph
(and did) but the 24 would be good in combination with the 15 heliar. The 15
alone seems tempting, but the gap to 35 is a bit too much. If $$$ are really
vital Voit make a 25 mm lens as well, but in the confines of Europe, 21, 35,
50, 90 is a fine "kit". This also begs the question of cartage. I like to
have 3 styles. Do not be afraid of the photo vest. Yes you look a bit like a
dork, but then so does most of the group. They are very useful, and can
easily carry the spare M body and lenes (cullman in the back), spare
film/batteries and filters etc should you have time to use them. I like to
have small cases for travel during the day (when one or two cameras are
slung around the neck) and a larger carry all for the plane trip and cartage
between "shoots" (and to organize myself at the end of the day and make sure
I'm not missing something) It also holds the bag with the used film.

I've raved on too long, and had to change the subject to warn those not
interested in long diatribes. Good luck, and have lots of fun

Cheers

Alastair