Archived posting to the Leica Users Group, 1998/10/29

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Subject: [Leica] Mythology v Reality - A Call For A Thoughtful Discussion
From: "B. D. Colen" <BDColen@earthlink.net>
Date: Thu, 29 Oct 1998 07:56:02 -0500

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I'll preface this by saying I love my M6, loved my M3 and M2 back when, even
the IIIc I started with. The M6 is unquestionably the best camera there is
in terms of long-term reliability, quiet, accuracy of focusing in low light,
etc. The lenses I use - 35 Summilux ASPH, 50 Summicron (German from the 70s)
and 90 SUmmicron M are wonderful. But...

I spent some time the other evening looking for the umpteenth time at my
little Aperture HCB book. What struck me was how many not-quite in focus
shots there were. How soft the lenses used for many of the photos were. And
how what makes these photos great has nothing to do with technical
excellence of equipment, but of vision. What makes these great photos are
the framing, the balance, the subjects, the capturing of the decisive
moment, the seeing of something another person with the same or better
equipment might stare directly at and never see.

I will have the timmerity to suggest that there is no "magical" quality to
the old Leica lenses, just lack of modern sharpness. Perhaps what we wax so
endlessly and elequently about is not this mythical Leica something that the
lenses had, but the fact that we are a bit put off by the razor sharpness of
image created by the modern lenses we run out to buy as they come off the
designer's bench. Yes, I love the Summilux ASPh. Yes, it's flare suppression
is unparalleled, and it creates images upon which I can cut my fingers. On
the other hand, how much lighter and smaller is the previous 35 Summilux.
And how many staggeringly good photos did it create, how many images in
Requiem were made with it?

HCB, Eugene Smith, Capa, et al, made images we all revere with lenses that
today sell used for less than $500 and "don't hold a candle" to today's
optics.

Isn't it possible that the "magical" quality of the Leica was its uniqueness
as a photographic instrument - (I'm not ignoring Zeiss here, Marc :-) )- the
fact that it allowed photographers, as I have noted before, to go where no
(camera) man had gone, and shoot what none had shot; the fact that it
allowed the capturing of the decisive moment for the first time. The fact
that it became identified with all that, and was therefore thought to be the
ideal, if not the only, instrument capable of doing all that, even when
other excellent equipment came along.

So what's my point? I'm not really sure. Except to say that while most of
our equipment discussions are extremely valuable, and the comradship created
by this list is truly wonderful thing, we sometimes seem to forget that if,
like the vast majority of today's outstanding photographers, people like Ted
and Eric and Tina and Jim and etc. were not using Leicas, they'd still be
making terrific images.

On the other hand, I (sort of) play a Martin D-35 guitar, the M6 of acoustic
guitars - and that doesn't begin to make me an HCB of the steel-string
guitar. It makes it a happy guitarist. It makes me sound as good as I
possibly can. But it still doesn't make me a player anyone would want to
waste time listening to.

So..."Talk amongst yourselves..." :-)

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