Archived posting to the Leica Users Group, 2002/02/24
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This was sent to the APEMC list an hour ago. I have reformatted it here
to have uniform line lengths, and have fixed a couple of typos.
- ------- Forwarded Message
Date: Sun, 24 Feb 2002 17:42:43 +0100
From: Lucien <director@ubi.edu>
To: APEMC@mejac.palo-alto.ca.us
Subject: Newsletter: The new Leica M7
The new Leica M7: one step closer to perfection.
By Erwin Puts
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 priority automatic exposure.
I am happy that Leica did not listen to all suggestions and followed
their own ideas and philosophy.
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
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.
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 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 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 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 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.
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 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 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 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 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 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, 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.
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.
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 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 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.
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 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.
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.
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 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 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 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.
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 measured two heavily used cameras.
My own M6 (one full year of use since last adjustment) and an M7
(same use). Both had excellent constancy of travel. The results are
in the table below:
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
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, 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.
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 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
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.
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
and with the rest it is Πxx). 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 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 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 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 taking the
M-photography one step closer to perfection.
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.
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
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 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 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 HSS speeds the user has to set it manually and this
is 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.
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 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 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.
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
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 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 will inevitably make mistakes, however tight the
inspections and quality assurance.
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 lineup 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 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.
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 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.
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 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 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 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 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, 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 already under
attack from the slr camera, the competitors (Zeiss, Canon, 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, 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.
Erwin Puts
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