This addiction of mine began a few years ago and continues into today; it helped spur a movement. Remember a few years ago how Fujifilm came onto the scene with cameras that had retro aesthetics, looked gorgeous and actually functioned well while doing it nowhere as expensive as Leica? Then Olympus hopped on board. Then Sony, and the train kept taking off. It got its fundamental start with film cameras and that whole movement. The idea of using a proper dial of some sort and retro-grade ergonomics has continued to enamor photographers everywhere–but no matter what camera manufacturers have done, I think that I can make a very valid argument that they’ve all come very close and done a fantastic job. However nothing fits into your hand or functions just right like some sort of small film camera.
The Leica Summaron-M 28mm F5.6 is a lens that in many ways is bound to garner the love of many street photographers out there. One could easily think to themselves: why would someone go crazy over a small, slow prime lens? There are a lot of reasons beyond its more affordable price point. There’s the image quality–which is unlike anything I’ve seen from most modern lenses. Then there are things like the low profile and the fact that the fairly slow speed means that’s all you’re going to be using for street photography anyway. It’s a gorgeous lens if you’re into something smaller and a lot more classic–not only in the quality but also the operation.
And seriously, I have to hand it to Leica. The Leica Summaron-M 28mm f5.6 is designed more for the look: not to appease some DXO overlord.
Creating the Photograph is an original series where photographers teach you about how they concepted an image, shot it, and edited it. The series has a heavy emphasis on teaching readers how to light. Want to be featured? Email chrisgampat[at]thephoblographer[dot]com.
Photographer Tomasz Kędzierski has been a pretty fantastic and creative analog film photographer for a while. We’ve featured his work a number of times on this website. Besides the Square Lips project, his homemade pinholes and his solarigraphy, he’s done some higher end work too. Most recently, he was working on a shoot where he was shooting with Provia 100, and to ensure that he got the shot right, he used a Leica Sofort first before switching back to his Hasselblad 501C.
Here’s his story.
Soft shutter releases have been around for a really long time now, but the Bashert Jewelry Sterling Silver Soft Shutter Release Buttons for the Leica M series of cameras are surely taking the cake. For the uninitiated, soft shutter button releases are a very nice and extremely addicting addition for your camera. They often make pressing the shutter a bit better ergonomically speaking. This is fantastic for a series like the Leica M where you need to sometimes stretch your finger a bit to press the shutter if you’ve got smaller hands.
When you think about a lot of the more famous photos of NYC, it’s easy to bring to mind the grit that you’ve known about it. That’s what Federico Chiesa seems to be conveying in his series, NY Diary. While toting along his Leica M9 and a Voigtlander 25mm lens, he documented a lot of happenings in the city while on a trip here.
Many of his images convey the emotions of people and are a play on various factors within a scene. These factors and elements are only brought together better using black and white.
Perhaps one of the more exciting lenses to come from Leica in years isn’t a fast 50, but instead the Leica 28mm f5.6. Now, why is such a slow lens so fascinating? Well for starters, it all has to do with street photography and documentary photography. The Leica 28mm f5.6 is very small and slim. That low profile body lends itself to not giving the camera that it is mated to a “look at me” demeanor. In addition to that, it renders a very classic look. Want some controlled lens flare? You’ve got it. What about a low contrast and not super saturated look? That’s all right here. Additionally, most street photographers are just going to stop the lens down any way. So when you consider the unique look and the fact that you’re not going for beautiful bokeh here, you start to understand why it’s so appealing.
To begin this review, I’m going to say flat out that Lomography XPro Slide 200 film has to, hands down, be the weirdest film I’ve ever worked with. But it’s also been a pleasure and a very fulfilling learning experience in my own pursuits of bettering my photography knowledge. To say this wasn’t a challenge is an extreme understatement. Within three rolls, I tried to “get it right”. Pretty simple you’d think, right? Well, yeah–even I’d sit there and call me a dumbass. Except that Lomography XPro Slide 200 film isn’t a conventional film at all.
The folks over at Dyson media teamed up with photographer Alastair Bird to see what would happen when you shoot with expired film. As analog film photography is currently seeing a resurgence, it’s a question many people have on their mind. Alastair decided to load up some Leicas and an old Balda camera to show off what happens when working with the film.