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I love my Monochrom (Show it off). All M types


jaapv

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Well I discovered that I'm clearly no product photographer, but here is my M10M Leitz Wetzlar with it's rope strap and right now rocking a pre-asph 35mm Summilux-M. But my 50mm Summilux ASPH is also fantastic and often used on this body. Right now it's also fitted with the Leica thumb support but I also often go without. 

I actually got a pretty great deal on this used Leitz Wetzlar edition and I love the beautiful script on it. 

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My M10M which I love.

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My M10M with 35/2 ASPH v1 and Voigtlander 28/35mm viewfinder that I use only for the 28 as with glasses I just can't see the frames. I had to make a major adjustment to the rangefinder vertical alignment and no matter how careful (plastic screwdriver etc) it left a mark on the cap, so I just sanded off the finish to give me a "gold" dot. It's still my favourite camera 2.5 years on.

 

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14 hours ago, colint544 said:

 

I suppose I'm just curious to know why you rate the M9M as the most desirable? The rendering from the sensor perhaps? Purity of the design? The limitations?

You won't get a rational answer; After Jono let me use his beta Monochrom at the official introduction and an amble through Berlin sharing the camera with Thorsten, I walked out of Leica's event up to my hotel room, loaded the images into my laptop and after ten minutes was on the phone to order with Meister. The camera was familiar, I have a 2009 M9, which fits me like a glove in all respects, but the M9M images blew me away. Nothing like digital conversions and nothing like film either.. To this day I still feel the same when I pick the camera up, which is quite often.  I use it with mostly classic lenses, which is where it shines.

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8 hours ago, jaapv said:

You won't get a rational answer; After Jono let me use his beta Monochrom at the official introduction and an amble through Berlin sharing the camera with Thorsten, I walked out of Leica's event up to my hotel room, loaded the images into my laptop and after ten minutes was on the phone to order with Meister. The camera was familiar, I have a 2009 M9, which fits me like a glove in all respects, but the M9M images blew me away. Nothing like digital conversions and nothing like film either.. To this day I still feel the same when I pick the camera up, which is quite often.  I use it with mostly classic lenses, which is where it shines.

I understand. There is definitely something special about the M9M, and the images it makes. I also particularly like the RAW histogram, and the old-fashioned fresnel frameline window. I have a 1960 copy of the 35mm Summaron 2.8, which really compliments the camera. It's as though the lens brings the best out of the camera, and vice versa. I'd not realised just what a fantastic lens it was until I put it on the M9M.

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Never interested in the M9M. Wanted an M246 but none were available for ten months, cancelled order. Bought the last new M10M that my dealer ever had. Love it. 
 

M10 Monochrom fitted with Voigtländer Color Skopar 21mm f/3.5, full factory lens hood, and Voigtländer 21/25 accessory finder. 

G

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On 1/9/2023 at 11:22 AM, colint544 said:

There is no point in trying to get digital files to look like film. Photographers like Alan Schaller and Ragnar Axelsson embrace the smooth and grainless look of the more recent M Monochrom models, and they make great work.

 

I agree in the sense that I’d be really hard pressed to get my M10M files to resemble 35mm B&W film in (say) 20x16” prints, but when comparing the M10M to large format film I’d argue the aesthetic / rendering looks much more similar across many print sizes. I have a 60” wide print off the M10M that really reminds me of what I captured once (same scene) using 5x4 and Acros 100…..large format film at large print sizes also being very clean, very grain free etc etc.

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M246  canon 50mm f1.8 ltm

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Here's mine. Originally ordered by a fellow forumite as part of Leica's Refurbished M9 project. The member took advantage of the A La Carte programme to have a Silver-Chrome M Monochrome engraved with the Leica (etc) script. Long story as to how I came to acquire it from Red Dot with only 114 clicks to her name. When bought some three years ago (as some of you will already have read elsewhere) it had been factory-finished with Boysenberry Leather. For reasons I won't go into (again) I reskinned her with standard Black Leather.

A snap taken half-an-hour ago (M-D Typ-262, 90mm Summicron v3);

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EDIT : FWIW here's how she looked just after she came home with me (M-D Typ-262, 90mm f2.5 Summarit);

Philip.

Edited by pippy
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1 hour ago, pippy said:

Here's mine. Originally ordered by a fellow forumite as part of Leica's Refurbished M9 project. The member took advantage of the A La Carte programme to have a Silver-Chrome M Monochrome engraved with the Leica (etc) script. Long story as to how I came to acquire it from Red Dot with only 114 clicks to her name. When bought some three years ago (as some of you will already have read elsewhere) it had been factory-finished with Boysenberry Leather. For reasons I won't go into (again) I reskinned her with standard Black Leather.

A snap taken half-an-hour ago (M-D Typ-262, 90mm Summicron v3);

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EDIT : FWIW here's how she looked just after she came home with me (M-D Typ-262, 90mm f2.5 Summarit);

Philip.

Wonderful!  Maybe a bit OT but those are wonderful lenses too!

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3 hours ago, kkochheiser said:

Wonderful!  Maybe a bit OT but those are wonderful lenses too!

Thank you!

The 50mm dates to 1953 (by serial number) but as it has an M mount I suspect that it was actually assembled later - possibly the following year to coincide with the introduction of the M3. The 35mm dates to 1954 so they might well have been sitting in Wetzlar at the same time. Echoing what Colin said in post #25 I find that there is real sympathy (for want of a better word) when using these types of lenses with the M Monochrom.

Philip.

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On 1/11/2023 at 11:18 AM, Jon Warwick said:

I agree in the sense that I’d be really hard pressed to get my M10M files to resemble 35mm B&W film in (say) 20x16” prints, but when comparing the M10M to large format film I’d argue the aesthetic / rendering looks much more similar across many print sizes. I have a 60” wide print off the M10M that really reminds me of what I captured once (same scene) using 5x4 and Acros 100…..large format film at large print sizes also being very clean, very grain free etc etc.

I can add further to my view that I posted a few days ago regarding the notion that digital can look like large format film, I've now had some drum scans done off 5x4 Ektachrome 100 of identical scenes that I simultaneously took with my GFX100S, getting the framing as similar as possible to then assess them side by side. To my eyes - at large (60" wide) prints, after some playing with colours and contrast, the test crops look exceptionally similar to one another between the film and GFX. Really similar in feel and rendering. It's taken 100mp medium (on a color filter array camera) to match the resolution and rendering that i enjoy with 5x4 film for that large print size, but it's all there IMHO. The modern GFX lenses seem higher contrast and more saturated, and digital CMOS sensors seem to produce greens that contain more "yellow" than the Ektachrome's (or Provia's) "darker green", and brown leaves in digital seem to have more "red" bias than those films .... those were some of the tweaks I needed to make. But looking at 24x20" test crops on the wall, I'm really hard pressed to see obvious differences in final prints between the 2 systems.

Regarding an M11 M, if it were 60mp, I'm not sure yet if I will buy it purely for resolution - the M10 M  and APO Lathar is so lossless in what it records when properly executed (tripod mounted), that I'm thinking it already seems to capture almost everything in the file!

Edited by Jon Warwick
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M10M next to its Grandfather, the Leica 1A. 

Hail to the Elmar kings! They render beautifully on the MM.

Late Elmar 50mm | Early Elmar 50mm | Elmar 35mm

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