A Tale of Five Cameras — STREET SILHOUETTES

In three and a half years of blogging, I have experienced some instances of disappointment. It has not always been smiles and sunshine creating content for this blog. On seven photowalks, of which five are featured on this blog entry, I came away with less than six usable photos - which is much less than my required thirty-one per post. But since I will be ending this blog at the stroke of midnight - when the ball drops in Time Square - I might as well squeeze whatever value I can before this blog turns into a pumpkin again.

In backward engineering a narrative for these five failed photowalks, I will set my sights on the five cameras I used. With them, I will discuss how they have changed my perspective on rationalizing gear during the course of my blogging. Strangely, what I had concocted from this motley assortment of cameras was actually enough for me to thread a tale that chronicled my evolution in gear. The list below itemized the cameras used for each photowalk along with how each accompanying camera impacted my preference on gear.

The Leica SL - Converting to Mirrorless Cameras
The Sony A7R Mark II - Chasing Upgrades
The Leica M10 - Settling on the the Best Digital Rangefinder
The Sony A7R Mark III - Locating the Sweet Spot
The Leica MP - Finding Love in Photography Again

1. The Leica SL - Converting to Mirrorless Cameras

Leica SL + Leica 21mm f/1.4 Summilux-M ASPH

The Leica SL is a remarkable camera. I must have shot it almost exclusively for over half a year. If I had started earlier, when the folks at Wetzlar first released it, I would have probably shot it for over a year. I was completely smitten by its generous electronic viewfinder, its autofocus system, and its ability to adapt compact M-mount lenses. For me, I found the Leica SL to be the perfect complement to M-mount rangefinder documentation, in extending the range of possibilities to much longer focal distances with increased accuracy.

With how much I liked the Leica SL, it did not take long for me to see the writing on the wall. In terms of actual user experience, productivity, and end result, the Leica SL convinced me like a sledgehammer that mirrorless imaging was better than conventional DSLR photography. With the advantage of realtime electronic viewing, I can visually confirm the exposure of the photo opportunity and also track focus throughout most of the entire frame without any hiccups - even in very low light where optical viewfinders typically fail.

Essentially, electronic viewing greatly simplifies the act of documentation. It reduces the number of variables that a photographer needs to juggle around. This is especially notable in difficult shooting conditions. Given that, I knew the day of the venerable DSLR was numbered. It was at that point when I decided to hedge myself and begin my foray into mirrorless technology. The Leica SL changed me. It showed me what the future was going to be like. It is only a matter of time before Nikon and Canon join the band wagon.

2. The Sony A7R Mark II - Chasing Upgrades

Sony A7R Mark II + FE to M Mount Adapter + Leica APO 50mm f/2 Summicron-M ASPH

The Sony A7R Mark II is not a particularly good camera in my book. That said, I cannot say that the A7R Mark II is a bad camera either. After all, it is better than its predecessor, the Sony A7R Mark I. If nothing else, the Sony A7R Mark II has eight more megapixels in resolution than the Mark I. By that standard alone, anyone would be crazy not to upgrade. Still what is upsetting about the Sony A7R Mark II is the span of time between its release and the release of its predecessor. By my count, the upgrade cycle was less than two years.

At the time, I was too caught up by the improvement offered by the new release over the previous generation to care about the short upgrade cycle. The hype on social media was just too overwhelming - so much so - it made me so excited every time I got wind of another rumor. I waited anxiously for all the announcements and all the subsequent release dates. For that reason, there was always something positive to anticipate with glee, given that the future was always bright and filled with more upgrades just around the corner.

In retrospect, I can see how perverse chasing after upgrades really is. But when you are caught up in the thick of all the excitement of improved specification, finding perspective can be challenging. The Sony A7R Mark II was the camera that kicked off my obsession for all product upgrades and accelerated my want of all variants. How could it not? Like I said, the Sony A7R Mark II is not a particularly good or bad camera. But it had promise, given what it offered in actual use and what its upgrade would offer in hope springing eternal.

3. The Leica M10 - Settling on the the Best Digital Rangefinder

Leica M10 + Leica 28mm f/1.4 Summilux-M ASPH

Leica M10 + Leica 35mm f/1.4 Summilux-M ASPH, Version II

The Leica M10 is the perfect digital rangefinder. When I held it for the first time, it felt just right. In terms of size, it is no bigger than an analog M-mount rangefinder. On top of that, it also had a dedicated ISO dial, a rear LCD screen, and a customizable dial that could be set for exposure compensation. In every respect, the Leica M10 was just right. It did not have any more functions or features than it should. Truly, it was love at first sight when I first got my Leica M10. It made me never want to adapt my M-mount lenses on the Leica SL.

In fact, it made me never want to shoot my Leica SL with native autofocus lenses. Why would I? The Leica SL is just too substantial a camera to carry around, regardless of its phenomenal performance and user experience in actual use. Besides, it is not as if the Leica M10 is exactly second rate compared to the Leica SL. Under most conventional shooting needs, the Leica M10 can hold its own by accomplishing most of what the Leica SL can do between the wide and normal range. Only at the telephoto range would I use the Leica SL.

Frankly, the Leica M10 feels like an old friend. And unlike the Leica SL, it looks like it belongs slung around your shoulder. Because of that, you are that much more prepared to take a photo with the Leica M10, given that it is not inside your bag. So it comes as no surprise that the Leica M10 was my camera of choice for more than one and a half years. From my perspective, I really did not see how the folks at Wetzlar could improve on the Leica M10, since it was already perfect. It really was a camera that I could use for the rest of my life.

4. The Sony A7R Mark III - Locating the Sweet Spot

Sony A7R Mark III + FE to M Mount Adapter + Leica APO 50mm f/2 Summicron-M ASPH

The Sony A7R Mark III is an extremely high performing camera. That said, it is still just a work in progress that builds upon the promise of what its predecessor has in functions and features to the extent of leaving enough room for improvement expected from the promise of future upgrades. So no matter how very good the Sony A7R Mark III really is, one cannot help but wonder what its successor would be like before its eventual release - that is to say - how improved the newer model will be over the current model.

That said, the Sony A7R Mark III is not exactly a slouch. Like I already stated, it is an extremely high performing camera. For that reason, there really is no good reason to upgrade, once you understand this reality. For most normal use, the Sony A7R Mark III is really more than enough camera. And the fact that its successor, the Sony A7R Mark IV, has close to 20 more megapixels does not mean the Sony A7R Mark III is obsolete. All it means is that the Sony A7R Mark IV is newer with some additional boost in functionality.

I understood that and opted not to upgrade. For me, the Sony A7R Mark III held that sweet spot between value and use. So invariably, I believe the Sony A7R Mark III is good enough to upgrade from the Sony A7R Mark II, but not good enough to be upgraded to the Sony A7R Mark IV. That said, it does not mean the Sony A7R Mark IV is not better than the Sony A7R Mark III. However, it also does not automatically mean the Sony A7R Mark III must be upgraded to the Sony A7R Mark IV, if you are already satisfied with it.

5. The Leica MP - Finding Love in Photography Again

Leica MP + Leica 50mm f/1.4 Summilux-M ASPH

The Leica MP is my favorite camera. It is the camera that renewed my love for photography. Apart from the in-camera meter, the Leica MP is completely manual. This means the outcome of your documentation depends completely on your ability to take a proper photograph. I mean, it does not even have aperture priority mode, which all digital Leica M-mount rangefinders have. So given a lack of electronic crutches, the Leica MP is very satisfying to use. What you end up with is a reflection of your ability as a photographer.

Like the Leica M10, the Leica MP feels perfect in hand. When paired with a reasonable lens, the Leica MP feels well balanced and not encumbering in weight. And when not in use, the Leica MP feels just right slung around your shoulder. It never looks out of place for any occasion - always looking appropriate and never obtrusive in appearance. For that reason, the Leica MP is always ready to take the shot. The only real limitation of the Leica MP is the finite number of shots on each roll of film. But that just means every frame counts.

Still, the Leica MP is not for everyone. Shooting in film with a fully manual camera does require some time and effort for most digital photographers to figure out. But if you actually give the Leica MP that old college try, you might just find it to be the most rewarding camera to shoot. No chimping, no do-overs, and no automation - it is just you, the camera, and the photo opportunity. Frankly, is that not the way it really should be when we take a photo? Personally, that is how I feel. For that reason, the Leica MP is my camera of choice.

Parting Shot

This is just a sample of what I went through over the last three and a half years of accumulating gear. Through this process, I was able to come to terms with what I was seeking all along. In equating gear accumulation to finding meaning in photography, you will lose all sense of perspective. But when you finally find that one gear that makes you satisfied and content, look no further. That is the camera for you. And any desire to upgrade to something better, that is just the manufacturers tugging at your insecurities.

Be happy with what you have and go out and take some pictures. That is what your camera is made to do.

Last, the final image on this blog entry is really there as a placeholder to help break-up the wall of copy evenly. My OCD would insist on no less from me.

Some images have been tweaked in post on Adobe Lightroom - some more than others. Some images have been cropped - again some more than others. After all, the photos on this blog entry were all formerly tagged as rejected. The last photo set, title image, and final placeholder were all shot and developed at box speed.

Disclaimer

Dec 8 A Tale of Five Cameras

Disclaimer

Dec 8 A Tale of Five Cameras

Dec 15 The Role of the Photographer in the Future

Dec 1 The Look of Nighttime Fill Flash Photography

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