Five frames from Queensboro Plaza

I consider this ‘image’ little more than a prototype, and perhaps I’ll make more. Maybe not. But fun!

What I learned in 2009 is that no matter how many lenses I have, I can only have one on a camera at a time. Realizing this brought me to the conclusion that I should sell what I can’t (and don’t) use to get something I would use. But in order to figure that out, I had to buy and sell a lot of gear.

• Cameras bought and/or sold

  • Panasonic Lumix DMC-LX3
  • Olympus E-P1
  • Nikon FM3a
  • Leica M9

• Lenses bought and/or sold

  • Zeiss Biogon T* 2,8/28 ZM
  • Zeiss C Biogon T* 2,8/35 ZM
  • Zeiss Planar T* 2/50 ZM
  • Zeiss Tele-Tessar T* 4/85 ZM
  • Leica Summarit-M 35mm f/2.5
  • Leica Summilux-M 50mm f/1.4 E46 (pre-Asph)
  • Leica Summicron-M 50mm f/2 (non-coded)
  • Leica Summicron-M 50mm f/2 (six-bit coded)
  • Leica Summarit-M 75mm f/2.5
  • Voigtlander Ultron 28/2
  • Voigtlander Nokton Classic 35/1.4 (MC)
  • Voigtlander Nokton Classic 40/1.4 (MC)
  • Olympus M.Zuiko 17mm f/2.8
  • Olympus M.Zuiko 14-42mm f/3.5
  • Nikon Nikkor 24mm f/2.8D AF
  • Nikon Nikkor 45mm f/2.8P AIS
  • Nikon Nikkor 50mm f/1.4D AF
  • Nikon Nikkor 85mm f/1.8D AF

This was a ridiculous amount of buying and selling. Pretty much deduct three lenses and one camera and all of this stuff almost equaled the cost of the M9. Was it worth it? So far, yes. I am left with a Leica M9 and three lenses: Summarit 35mm, Summicron 50mm, Summarit 75mm.

The upside is that after all this buying and selling, I got to experience a whole bunch of different focal lengths, manufacturers, camera styles, and so on. For the first time, I feel like I am at least an informed user. I’m not using the Summicron 50mm because it is the only lens I have, I’m using it because I prefered it over the Planar and the pre-Asph Summilux.

Now let me get back to shooting.

Binita and I returned from a month-long trip to Kathmandu. We spent most of October in Kathmandu but made a mad dash trip to Darjeeling. We had a nice time. Plus, this marked what is probably the last time I’ll be using the Zeiss Ikon—or rather, 35mm film—as my primary camera. True, with the money I made from selling all that gear, I bought a Leica M9, and I am very excited. It’ll be my first ‘real’ Leica.

I’m hoping that the Leica glass and the new full-frame sensor in the M9 will provide the great textured images that I can make film consistently produce. For example:

I’m still 11^th on the waiting list over at Pop.Flash Photo (who are great guys simply waiting on Leica like the rest of us). Looks like I might not have my M9 until the end of November or even mid December. I am told that each camera is hand-assembled in Solms, Germany. If true, then take your time.

Five years later, again I’m selling so I can buy, selling my Nikon FM3a and the select lenses I bought to compliment my FM3a. So what camera could force me to part with my beloved? The Leica M9. And it’s not just a matter of selling this camera and several lenses to cover the purchase. I’m cleaning house, frankly, and selling whatever camera gear I have that I don’t use at least weekly.

Which, it turns out, is pretty much most of my gear.

If you’re interested in picking up the best film Nikon made, period, in my opinion, and the excellent and rare Nikkor 45mm 1:2.8P lens, you can check out my eBay auctions.

You can be confident that after I get my first ‘real’ Leica that I will write all about it.

Well, a Hasselblad H3DII, which costs $30,000, can be used to disprove that general statement, but yet a drum-scanned 6×6 medium format exposure from a 40-year-old TLR will shame the H3DII. Quality digital costs a whole lot.

Then there’s the kit problem. My father got an Olympus OM-1 with 50mm and 35mm lenses. For him, that was enough. He didn’t buy another camera for nearly 30 years. That sweet Canon G9 you bought last summer is stupid now that the new G10 is rolling out. I cannot imagine in the year 2038 finding an amateur photographer using a Canon G9.

And to hit on another point from above, exposure latitude is really key for me. Digital SLRs are not forgiving if you over or under exposure by half a stop, let alone a full one. Good old negative film will let you shoot sloppy. A stop or two up, a stop or two down, it’s no big deal. Highlights won’t be washed out, shadows will still have depth.

I also liked that Ken mention wives and girlfriends love film. So true. But not for the reason Ken mentions, which is time spent distracted by sorting through the plethora of photos a digital camera can yield in a short time. Skin tones and rich detail from Kodak Portra 160NC are flattering.

Before you call me a Luddite, let me acknowledge that digital photography is the future. Film will have its place. With all the equipment and enthusiasts out there, I believe it will remain in one form or another. In the meantime, though, I suggest digging around your father’s or uncle’s closet for his old 35mm. I promise with a little practice, you won’t be disappointed with the results.

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The main dilemma I faced in buying a Canonet was with its battery. The Canonet (and about every other rangefinder from this generation) was designed to use mercury batteries that are no longer manufactured (banned in the US and abroad) and essentially unavailable.

I read an excellent write-up about the options available to address the mercury batter issue, Mercury-Oxyde Battery Problem. Frans de Gruijter’s article, The Mercury Cell Problem and Its Solutions, is probably the defining work on this subject. Both articles left me with three possible solutions:

• Recalibrate the camera meter for 1.5 volt batteries
• Use Wein cells or generic zinc air batteries
• Buy a MR-9 adapter, like one from CRIS Camera

Of course, having the camera meter recalibrated for the higher voltage 1.5 volt battery is the best choice. Yet I couldn’t find a single repair person who didn’t shrug and/or roll their eyes when asked about recalibrating the meter. Disappointing. In the end, I bought the $30 MR-9 adapter from CRIS and have been very satisfied with the results.

The Canonet GIII QL17 has a leaf shutter, meaning it offers flash sync at any shutter speed. I also have the Canolite D flash, the dedicated shoe flash for the Canonet GIII QL17. It gives extraordinarily even fill flash indoors and outdoors. Overall, the $100 I paid for the camera, the flash, and the adapter were a fantastic bargain.

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I suggest that the MTA simply allow these signs to remain on N Line trains permanently.

Only one photo (above) demonstrated that the Holga could produce rich color and texture and the strange bokeh it is known for with 135 film. Frankly the rest of the photos were rubbish. Funny that this one gem says ‘Stop,’ but because of it alone I probably will run a few more rolls of 35 mm film through the Holga.