The Leica M4 was fifty years old five years ago. We published this article at the time and it throws a light on the complicated history of the M4, a camera that was superseded by the M5 and then reinstated in Canada as the saviour of Leica. The article was subsequently published in the LHSA’s magazine and attracted great interest. So, let’s have another look at the story of the M4. Bear in mind that this was written from the perspective of 2017. The used prices at the end of the article are revealing…
A few days ago I was asked by Amateur Photographer’s assistant editor, Geoff Harris, for background on the Leica M4 in connection with an M4 50th-anniversary article he was putting together for an up-market yachting magazine.
Frank Dabba Smith’s Canadian-made M4 in black chrome. This was one of 2,500 M4s manufactured at Midland, Ontario, at the tail-end of the M4 production. Black chrome M4s command a premium over the more common silver chrome — and the few Canadian-made examples are rarer still. Photo Frank Dabba Smith
Funny he should ask that. While I have a good general knowledge of the Leica story, from Barnack to Q, the M4 saga has always been difficult to follow. It’s not only the three main models, M4, M4-2 and M4-P, it’s the split manufacture between Wetzlar and Midland, Ontario, not to mention the brief sabbatical while the portly but advanced M5 rose and fell. It’s quite a story.
Adding to the confusion is that secondhand prices are all over the place, everything depending on which model is in focus and, above all, on the finish of the body. Canadian M4-x cameras were predominantly produced in black chrome, so the few silver chrome relicts command a small premium. Conversely, Wetzlar M4s were largely in silver chrome with the result that black is normally more expensive. That’s black chrome. The even rarer black-paint M4 is on the top of the tree.
Production
M4 production topped out at about 58,000 examples compared with the 225,000 run of the earlier M3 — another factor in adding to rarity value. Of the total of M4s, just 6,775 were finished in black chrome and 4,889 in black paint. As always, limited production sets the collectors’ pulses racing.
The M4 is considered by many to be the finest of the unmetered M cameras. Some prefer the M3 or, even, the M2, but the M4 combined the best of its predecessors’ virtues, including superb build quality, and added a feature or two. With its engraved top-plate and M3-like craftsmanship, the M4 upped the rangefinder game. Its additional features, which don’t sound too impressive at this remove, were actually a big deal at the launch in November 1966.
The angled rewind lever with crank enabled rapid film rewind. It was a big deal when the M4 was announced in November 1966
The angled rewind lever, instead of the knob on earlier models was, in its way, as big an improvement as the film advance lever on the first M3. It dramatically speeded up the rewind process. And the quick film loading feature, dispensing for the first time with a return spool, was a hit. The new advance lever with its floating end-piece received a mixed reception but few could argue with the benefit of the self-setting film counter.
Above all, the M4 in 1966 continued the tradition of the M3. With framelines for 35, 50, 90 and 135mm lenses it was also more practical than the M3 which lacked the 35mm lines, necessitating an external finder.
Clouds on the horizon
But clouds were gathering on the horizon even as the M4 was launched. Rangefinders were losing ground to SLRs and Leica had failed to offer serious competition in that area. The company was also encountering financial problems — its rangefinders, typified by the M4, were hand-made by craftsmen and expensive to produce. The situation was exacerbated by the failure of the radical M5 — the first M with an exposure meter. M4 production was stopped briefly in 1972 but the poor reception of the M5 caused Leica to restart the M4 and, soon, to move production to the E.Leitz Canada plant in Midland, Ontario. Some 2,500 M4s were made in Canada towards the end of the run.
Canadian-made M4-2 and M4-P cameras are rarer in silver chrome. Most were made in black chrome. This boxed example of a silver chrome M4-P was on sale at Aperture Photographic in London for £790 in 2017…
The solution to Leica’s problems came in the form of a new, simpler production process and trimmed features to keep costs down. In particular, instead of the painstaking adjustments and artisanal tinkering that typified earlier cameras, the plan was to introduce a standardised component system. Less adjustment was possible and, if something didn’t quite work or was out of tolerance it was simply swapped. Previously, the craftsman would have performed custom adjustments to individual parts.
Plain Jane Leica
The ensuing 1977 M4-2, often called the “plain Jane Leica”, was the camera that saved Leitz. It compromised in several ways beyond the cheaper production system. It had a stamped top plate in preference to the M4’s engraved plate; the rangefinder optics were cheapened by the removal of a condenser and the self-timer was deleted. It did, however, grow some new features — the ability to attach a motor drive and the addition of a hot-shoe.
Early production difficulties led to some questions over reliability, but these were tackled and the M4-2 remains a popular buy, even if prices are lower than the M4 and the subsequent M4-P. One internet dealer in second-hand cameras, Peter Loy, told me that the M4-2 can sometimes be troublesome. But Patrick Tang at Aperture Photographic isn’t so sure. He hasn’t noticed particular problems with the M4-2 and, he says, if he has an M4, M4-2 and M4-P on display it is the M4-2 that will sell first. It makes a great “budget” buy and should perform flawlessly.
The M4-P was the last of the rather complex M4 range. Introduced in 1981, it was identical to the M4-2 but with the addition of 28 and 75mm framelines. It is generally considered to be more reliable than the M4-2 and commands a slightly higher resale value. Interestingly, the last thousand M4-Ps were made back in Wetzlar (serial numbers 1691951-1692950 in case you have one under the bed).
When considering buying a used M4/2/P there are lots of factors, including specification, location of manufacture and colour to take into account. As I mentioned earlier, the rarer the colour finish the more the cost.
An M4 in black-chrome commands a premium over the more common silver-chrome majority. This example is actually one of the 2,500 models made in Midland, Ontario (as is Frank’s camera at the top of the article). In early 2017 it was on sale at Aperture Photographic for £1,590.
If asked for a recommendation I would say that the sweet spot is either a pre-1977 M4 in silver chrome or an M4-P in black chrome. You’ll pay more for a black chrome M4 or a silver chrome M4-P. So, unless you are a collector and are prepared to pay the premium — or really must have the rarer model for aesthetic reasons — the more popular colour is the one to go for.
Between these two cameras, you might be swayed by the fact that the later M4-P has the comprehensive 28/35/50/75/90/135 viewfinder lines to cope with the majority of M lenses. It is also able to handle a motor drive like the M4-2 but unlike the M4. This, however, is less important these days than it was when the camera was in use for professional purposes. Personally, I find the motor drive pretty pointless. I have one (for use on my MP, not the M4) but soon got fed up. With only 36 shots on hand, it’s more satisfying to use the advance lever.
Revived fortunes
In the past couple of years, there has been a revival in the fortunes of all Leica film cameras (perhaps with the exception of the M5 and M7, although both these cameras have their dedicated fans). Young people are rediscovering film — as is Kodak by all accounts — and the Leica M3 is the camera that grabs the most attention. The M6, also, as the first traditional M to incorporate an exposure meter (the quirky and short-lived M5 led the way, but that’s another story) is high on the wish list. The M4 is somewhere in the middle.
I have acquired samples of all M film camera ranges except the M5 (but I’m not a collector, you understand) and, given the choice, I’d pick my German-made black chrome M4 model as the most handsome and enjoyable to use — the pick of the bunch. It isn’t for nothing that the M4 is considered to be the finest unmetered M model you can buy.
Frank Dabba Smith (left) with Ivor Cooper of Red Dot Cameras in London — where you can find a fine range of pre-owned Leica rangefinders stretching back to the early 1930s (Photo Mike Evans)
The black-chrome M4 is also the definite favourite of noted Leica expert and Macfilos contributor Frank Dabba Smith, albeit in his case the rarer Canadian version engraved ‘Midland’. For so many of us, a much-loved camera model also depends on our personal histories as Frank relates:
“In 1975, I was in my first year studying at University of California at Berkeley and I was getting more and more involved with photography and became especially interested in photojournalism.
“Two friends at Berkeley had black chrome Midland M4s and I was seduced by the functionality and appearance of this camera. Unlike other people, I was especially drawn to the flat black finish and the white infills on the frame selector and self-timer levers. I’ve owned every M variant along the way but the Midland M4 is my quintessential Leica.” Today, Frank still uses his Midland M4 along with an M-A when he works with film.
Dealer versus auction site
If you fancy an M4 bear in mind that, because of the smaller production run, secondhand examples are rarer than, say, the prolific M3. I would always recommend buying from a dealer rather than an auction site. No doubt you can get bargains from eBay or similar, but this is by no means guaranteed. You might end up paying more than you would at a reputable dealer who will always provide a level of after-sales service and, in some cases, a limited warranty.
One point worth noting is that most, if not all, Leica rangefinders of whatever age will likely hold their value and could well appreciate in nominal value because of inflation. So, in general, your running costs will be minimal because there is no depreciation to take into account. You could even sell at a profit in a few years’ time when you want to upgrade.
At a dealer near you… Looking for bargains among all the second-hand camera gear. This Leica M display was at Aperture Photographic’s old premises in Rathbone Place, London. They are now at 17 Riding House Street, W1W 7DT
A good dealer will give you an honest assessment of the condition of the camera, including whether or not it has been recently serviced. In some cases, he might recommend a “CLA” (clean, lubricate, adjust) and that can cost around £160. It’s worth doing if there is any question over shutter speeds, for instance. They can get out of adjustment, often from lack of use (I have a regular schedule reminder to “exercise” my film cameras), and it’s a point to check when buying.
How much to pay? Below are the ballpark figures supplied by two dealers, Peter Loy and Aperture. As usual, exceptional condition and provenance (box, papers, original receipt, famous but careless owner) can command a premium. The new figures in bold, represent similar ballpark figures for the same cameras in 2022 (supplied by Red Dot Cameras).
- M4, silver chrome – £700-£1,000 (£1,600-1,800)
- M4, black chrome – £1,200-£2,000 (£3,500-£3,900)
- M4, black paint – £2,200-£3,000 (£4,000-£4,500)
- M4-2, black chrome – £500-£700 (slight premium for silver chrome) (£1,300-1,500)
- M4-P, black chrome – £600-£900 (ditto) (£1,600-1,800)
What’s your take on the M4? Is it the used unmetered Leica of choice? Or do you think the metered M6 is the better buy? What do you think about those prices? A lot has happened in five years, but prices for used Leicas have gone through the roof. Is this a bubble or will these cameras continue to appreciate?
A cup of coffee works wonders in supporting Macfilos
Did you know that Macfilos is run by a dedicated team of volunteers? We rely on donations to help pay our running costs. And even the cost of a cup of coffee will do wonders for our energy levels.
A very beat-up black chrome M4 was my basic camera until the M6 came out. I did have an M5 and a CLE also but then, thanks to Tom Abrahamsson, I developed a taste for M2’s — simple, 3 frame lines, took a ‘Vit (either the original or Tom’s home brew). It was hog heaven, as we say. But I considered that M4 my stealth camera. Being a dull black, nobody tended to see it, and coupled with a 35/2 Summicron, also black. It was cool in public.
Then suddenly the Epson R-D1. I just hadda have one, and from there an M8, and now two M10s. My last real use of film was at the end of Kodachrome. I gave up my darkroom, so shooting film meant using a lab. I switched for a time to a Sony A7r for the megapixels, but am again totally happy with the M10, which, even though it is a computer with a limited lifespan (unlike my M4), feels like a real M and represents a total success for Leica – finally. I am not seduced my the M11, because the M10 is everything I need.
But you made me very nostalgic for my M4, which I still have!
With the M4-2 shutter speed dial connected to the camera mounted Leica meter, I have a convenient exposure measurin system at hand. As I am left eyed and handed, I use a baseplate winder rather than the advance lever or the motor winder that came with the camera. As it was getting rougher, noisier and I had experienced the finder whiteout problem, I sent it to Gus Lazzari for the needed CLA and finder modification kit. With a brighter finder with no whiteout problem, smoother and quieter with accurate shutter speeds, I find it a great left hand/right hand tool to use with a 35 2.8 Summaron. With aging eyesight, I now use the M3 for 50, 90 and 135 shots along with their bright line finders. If you are a lefty, an M4-2 with a baseplate winder is a cost effective setup.
Good to hear, Mike. I instantly shut down and cease all further interaction if I come across that sort of behaviour. I do a lot of reading before choosing to get involved and participate in only a few select forums. I like what I see on Macfilos and have been following it for some time. 🙂
The odd thing is that our comments section is basically self regulating. We have had to delete only a handful of objectionable comments in nearly 14 years. We have a policy of avoiding contentious non-photographic issues such as politics because they take us down rabbit warrens to disaster.
Longer comments such as those by my friend David B complement the original story and often add a level of technical knowledge that is not possible in the original article.
Yes, that was a bit long. It’s a good forum with some good reads. I’ll try to be more concise 🙂
That wasn’t a criticism, Rod. If anything it was an encouragement. We like to promote intelligent and informed debate and we do not tolerate the sort of unreasoned, prejudiced comments that you get on many sites. All rational opinions are welcome.
Thank you, David. An informative level of detail and comparison on the M7. I’ve heard many thoughts on the different viewfinders %view etc and for some this makes a real difference. I remember when the M10 was launched and one of the most talked about upgrades was the VF over the Typ240 model. I can’t honestly say I noticed a stark difference between the two, certainly not enough for me to warrant the upgrade on it’s own. There were of course other improvements.
On the M3, many including me will agree that it’s firmly etched in Leica history as one of the most significant M’s used by some of the most famous photographers. Even the queen owns one!
Foibles, a subjective comment on my part and only my opinion, but I refer to mainly the film loading. The M4 improved this by doing away with the removable spool and the need to trim the film leader before loading. This is definitely a bit of a faff and I’ve seen first hand film veteran friends of mine having difficultly with this. It didn’t stop people loading these cameras on the front line though during the second world war, and creating some of the worlds most iconic images. There is also a ‘double pump’ cocking mechanism on some versions of the M3 which was re-vamped and improved on the M4. The other thing was the improved film re-wind mechanism, said to speed things up significantly. This was carried through to M6 & M7. Personally I always rewind my film slowly and carefully, so as not to scratch the film during the process. I think the latest incarnation M-A has returned to the M3 style rewind oddly.
No getting away from it, the M4 was never as popular as the M3 and I doubt it ever will be but it has it’s place in Leica history. There’s an interesting story of the M4-2 which followed, in an attempt to make a more affordable Leica by stripping out some of the niceties of the M4, like the self-timer. Not sure that went entirely to plan, but another interesting part of the story.
Circling back on batteries, the M10 was a disappointment here over it’s predecessor. If I had 45% in my M240 battery, I’d pick it up and take it out for the day without a spare, something I’d never do with the M10. I don’t like carrying too much kit so for me spare batteries, lenses etc are a nause. I like to sling a camera over my shoulder and have it ready to use, 1 camera, 1 lens and the only thing in my pockets, my house keys and some change. If I need two focal lengths, I generally take a second camera. This invariable involved a camera bag, and opens up a whole load of decision making 🙂
The M11 brought a real improvements for me, and the single biggest improvement to my workflow, not only restoring battery life to where it was before the M10, but also adding the ability to charge via USB-C which was extremely useful to me as I travel around a lot. With 60MP on tap, cropping is suddenly a real benefit too meaning a 35mm summilux is really a universal lens for me. You mentioned unlimited photos, funny but as cameras have evolved, 24MP, then 40.3, now 60MP my memory cards seem to be getting bigger, but the number of photos doesn’t seem to go up much. Other M11 improvements like the electronic shutter are very welcome and give me the ability to use f1.4 during the day without having to carry ND filters… there is a pattern appearing here.
For my professional work, I tend to use the SL platform, and have a ton of batteries for this. I also carry much more equipment, lenses spare bodies etc so come prepared. For relaxation and pleasure, I enjoy the 1 camera slung over my shoulder approach as I don’t like to be changing lenses, worrying about batteries.
Oddly, if I have a film camera with me as well, I don’t usually have a spare roll with me, unless I’m nearing the end of a roll when I’m heading out. It’s another pocket to fill up.
Interesting on the black and white processing. Done properly, film processing produces some fabulous results. I use a printer, I guy (Michael), I’ve known/worked with for many years who takes care of my digital printing. I don’t profess to know the paper technology he talks about, but he picks uses just the right combination of printer, ink, paper and I’ve been very pleased with the work he produces for me and so have my customers. I print a few of my own pictures and they’re OK, but not as good as Michael can do.
These days, all my films are developed in the lab, I get the negs back and scan / process in the digital dark room. Maybe I’m missing a trick here, I’ve been looking at setting up some simple film processing. I long for the time, when I have more time. No doubt about it, shooting film the way I do right now is not the most efficient process, but I keep my hand in, remember my ‘Sunny-16’ and even do a bit of faffing, loading film into my 1946 IIIc, which is even more foibled than the M3 but beautiful in the hand, (or pocket) with it’s collapsible lens.
Rod, the prize list for longest Macfilos comment is now 1. Röd, 2. David. Over to you, David…
We-ell, I’m just nipping out for lunch now ..so here’s a very brief reply (..oh, and the cat’s moaning for something..)
“..The M4 improved this by doing away with the removable spool and the need to trim the film leader before loading”. I’ve never bothered with, or needed to, ‘trim’ film before loading it (..into an M3). I take out the take-up spool, stick my thumbnail into the take-up slot, feed in the ‘tail’ of film – which is already ‘trimmed’ anyway before the factory’s loaded it into the film cassette, or roll, or whatever it’s called – and then drop the cassette, and the take-up spool, back into the camera, check that the film’s engaged on the sprockets, close the back and wind on.
Simples! (Same thing with the even older screw-fit models.)
“..There is also a ‘double pump’ cocking mechanism on some versions of the M3 which was re-vamped and improved on the M4”. That was changed to ‘single stroke’ a couple of years into production of the M3, and long predates the M4.
But thanks for clarifying the perceived ‘foibles’!
Thank you for the Clarification David, useful to know. I’ve not seen many M7’s come up for sale, I have to admit to being intrigued by this particularly mint one. The M7, I guess would be similar to shooting a digital M. The look and feel certainly appears to be that way.
Yup, pretty similar. They feel just the same (..but the M7 is about 40 grams lighter than the M10 digital), and the M10’s a couple of millimetres taller, but it’s hardly noticeable.
“..similar to shooting a digital M..” ..mm; the M7 is almost as quiet – at about 1/60th – as the super-silent M10-P is at any speed. (The fastest speed of the M7 is 1/1000th, and that of the M10 is 1/4000th ..but so what?)
I bought my M7 because I was – and am! – keen on the 85% viewfinder view (..almost as large as the 90%-lifesize view of the M3..) in one of the M7s I saw in the Munich Leica shop ..I think it was ‘new old stock’ ..not 2nd-hand, but old stock which had been sitting on a shelf somewhere. I’m very pleased with it.
Incidentally, what are, or were, “..the earlier foibles of the M3..”? ..The M3 seems, to me, anyway, like almost the best of the bunch of Leica rangefinders – nice big accurate 90% finder! – except that the M7 also offers auto-exposure, if you want it.
The biggest difference between the M7 and a digital M is that, of course, with the M7 you have to stop and rewind after 36 shots ..and then dunk them in chemicals to reveal the images ..but you can print black-&-white film -d-e-e-p- into ‘proper’ chemical-based photo paper, for glorious -d-e-e-p- and finely graduated images. So you’ve got to buy film, and pay for chemicals, and wait a while for the results.
With a digital M you’ve almost unlimited shots – limited only by your memory card’s capacity – and you get instant results ..but even ink-jet-printed pigment inks don’t quite deliver the -d-e-p-t-h- you get with b&w chemical-based photo paper. But maybe you don’t shoot much b&w ..I don’t.
However, you’re completely dependent on the digital M’s battery – unlike using an M7..! If the battery runs out – I thought that was your concern? – then any digital M is utterly dead ..although you say you’re “..mainly shooting modern digital M cameras..” ..so you’re clearly not worried about battery failure!
My first Leica film camera was a 1967 M4 in silver chrome from Wetzlar. I’ve always liked the simplicity of the 1954 rangefinder design, to me the M4 does away with the earlier foibles of the M3 and takes the best of its predecessors into an updated design. It was oddly the first camera I received a LFI master shot award from despite mainly shooting modern digital M cameras. Film is very forgiving and I’ve never missed an exposure on the M4 so I can’t see a metered M6 would be any significant advantage but I would have one. I briefly looked at an M7 which appeared at my local shop, but as soon as I realised that it only had 2 mechanical shutter speeds when the batteries fail, I decided not to look any more. I still have the M4 and it’s in great condition, totally reliable and works perfectly with all my modern M lenses, how cool is that?
..and, er, how often do those batteries fail, giving just those two speeds? Let’s see; how long have I had my M7 for? – maybe seven or eight years, maybe more.
And how often have the batteries failed? ..Never, ever. And one can always carry a couple of teeny spares ..you know; like carrying a spare roll of (..what’s it called? ..the stuff you shoot pictures onto ..you know: that roll of something which takes only 36 shots, and then you have to rewind it and slot in another one..?) ..ah, yes: film!
If one doesn’t leave home without a spare roll of film, then all one has to do – if there’s some vague idea that the batteries may fail – is take a couple of spare teeny cells for the camera, too!
I don’t see the imaginary problem.
I’m sure like all personal kit, one learns it’s operating envelope and how to get the best out of it. I did read an article bemoaning M7 batteries failing and leaving users in the lurch but this is far less likely to happen if it’s a camera in regular use. Not sure if there is any way to access the state of charge of the M7 batteries like the main battery in a digital M?
It’s all down to personal choice, I believe the original article was about the M4 and comparison to the M6. I write from my experience of the M4. If the M6 TTL fails, my understanding is that it becomes like the M4, fully useable save for the meter. If the M7 fails you’re stuck with 2 shutter speeds. That is a fact, not an imaginary problem. It’s not a problem however that can’t be very easily mitigated if you have spare batteries along with your spare rolls of film. 🙂
Dear Röd,
You say “..Not sure if there is any way to access the state of charge of the M7 batteries like the main battery in a digital M?..”
Page 68, or page 72 – depending on which version – of the M7 instruction manual (..easily found online: you don’t need to buy a camera to read the manual..) says:
“Automatic battery check
If the decimal display LEDs, or the light balance, flash when exposure metering is activated, the batteries should be replaced. If the batteries do not have sufficient power for the electronically controlled functions of the camera (exposure metering and the electronic shutter speeds), “bc” [..that’s for Battery Check..] lights up or the displays disappear altogether.
In these cases, you can continue to use the camera with the two mechanical shutter speeds of 1/60s and 1/125s”
So if the LEDs flicker, or BC shows ..that’s a simple early warning to replace the batts.
I still have one of my Black Paint M4 bodies – the very first one I owned, bought in December 1969.
In the autumn of 2018 the cloth shutter curtain separated so I had to send the camera in to replace both curtains. I had a CLA done, too. Too bad these cameras don’t have longevity: can you believe I had to have a repair after only 49 years of faultless operation? (When I mentioned this to Leica’s Dr. Kaufmann he mischievously asked, “Don’t you think we make our cameras to last too long?”)
But! The camera once again operates in a silky smooth fashion. It is really a sensory pleasure just to sit and play with the camera in hand advancing the film lever and practicing focus.
Hi Wilbur, Good to see your comment!
Mike
Mike, Great read, but for collectors the story doesn’t end there. I consulted Dennis Laney’s Collector Guide and it appears that there were 10 versions of the M4, 11 versions of the M4-2 and 4 versions of the M4P. Most of these versions were different colours and top plates, for example olive green versions or that the M4-2 had 5 different versions of the top plate script! I’m an M4P (and M6) user and the main change in the M4P is that during the production run Leica changed from a brass top plate with indented v/f glass to a zinc top plate and flush V/f glass as per the M6 and also changed the framelines to the M6 version. I’m not a collector but these type of modifications must drive collectors mad or poor.
Graham,
Yes, it’s a complicated story. I tried to keep to the basics when I wrote this five years ago. But thanks for the additional information which will be useful to anyone who wants a fuller picture.
Collectors are a rare breed and probably wouldn’t read an article such as this. They need to get down to the nitty-gritty. But for those interested in buying a film camera, an overview is probably more useful than worrying over collector-style differences.
The M4-2 is an outstanding value for a Leica M camera (value being a relative term) I own an M4, M42 (Gold ironically the gold ones with lens but no box and papers) can be found for about the same price as a black body…I guess it was too flashy for users and lacking the papers and box, a no go for collectors)…and M4-P along with an M6 (and others). I think the OMG stamped top cover and OMG stamped (rather than engraved) film counter (under glass) are no big deal. Nor have I VER experienced the “dreaded” whiteout from lack of the extra lens in the VF system (thousands and thousands of rolls all over the world) Hot shoe? Meh. Motor coupling nice with a Rapidwinder (Tom A M4-2 and M4-P-and M6). 28 frames hell yes and I shoot the 75 1.25 TTArtisan (DUPERB LENS) as well and love that frame need to upgrade the frames in my M4s and M4-2! At the end of the day, they all deliver superb images so let your budget be your guide and go shoot! Mark
Since the 1960s I have used Ms, 3s and 2s and later an M4. I have recently bought another one. I favour non-metered cameras for the simple reason that if a metered Camera such as the first CL, or the M6, has a meter problem, It may be hard to get it back on the road. With an M2,3 or four you discard the meter and find another one. Meters that still work well are hard to find but it is not impossible. I have two selenium ones. The later ones used a battery no longer available, although adaptors are available.
Of course those of us who have been in the game a long time, tend to know our light.
Peak Leitz quality tended to be – as stated – M4 and before. So the M4 is my favourite, with an M2 backup.
Here’s that chestnut again – though I realise that this is an old article.. “..it was also more practical than the M3 which lacked the 35mm lines, necessitating an external finder” ..NO!
The two Leitz 35mm ‘Summaron’ lenses (one with an f3.5 and one with an f2.8 aperture) and they both were available with a built-in pair of ‘goggles’ ..extra lenses attached above the ‘taking’ lens, and the two small extra lenses -w-i-d-e-n-e-d- the view seen by the camera’s two rangefinder / viewfinder lenses. This meant that – although the 35mm lenses used the ‘normal’ 50mm framelines in the viewfinder, MORE was visible within the frameline, providing the view seen by a 35mm lens.
I have one in my hand now, and one of the advantages of the 35mm ‘goggled’ lenses is that they focus closer than the other 35mm rangefinder-coupled Leitz lenses, as they focus down to .65 of a metre (that’s 65 centimetres).
NO external finder was necessary with the M3 when using a 35mm lens, if one used – or uses – one of the ‘goggled’ 35mm ‘Summaron’ lenses which were specially made for that camera ..but which can also be used on any ‘M’ camera.
if for the assignment – self or professional – one doesn’t need the speed of a Summicron or Summilux there is nothing anywhere to compare to the superb optical performance of the 35mm f.2.8 Summaron.
They are awesome rigs. Had a few and grieved when they were sold. I have an M-A now. The proud tradition lives on.
I bought my M-A to replace my 1967 M4 when I started a year long project shooting and developing my own film for all my personal projects. I’ve now added an MP to the fleet so I can run different films at the same time. The M-A most closely resembles my old M4 and is my clear favourite. The MP with addition of a light meter, is handy for when I’m shooting fast glass in sunlight with a variable ND filter which is something I also enjoy. Both silver chrome which is my preference.
On the other subject of LHSA, or LSI as it’s now called, I’m looking forward to meeting a few folks from here in Wetzlar in October as I’ve booked my place at the annual conference.
Rod,
Good to hear you will be in Wetzlar this year. I’m trying to rearrange things so I can go, but I haven’t yet registered. I could be too late. You should be able to meet Jono Slack, who is one of the speakers at the event.
Mike
Hi Mike,
Indeed, I’m looking forward to meeting Jono and a few others. Hopefully you can get registration sorted.
I owned the M4-P and a 50mm/2 and loaded it with kodachrome. I have always regretted selling it. Back then I used to be able to read light and get accurate exposure-that skill is long gone due to exposure meters in the camera.
My preference was for the Wetzlar made M4 in chrome. I know many others like Black Leica’s better and appreciate or at least understand the rarity rating effect especially nowadays for the collectors, but as then a hard working Pro Photographer what mattered more for me was the chrome models wore better externally, and that counted for quite a few extra bob whenever it came to trade in time.
I can vouch for this as fact because I always used to buy my Leica’s two at a time with one being ordered in chrome and the other in Black as this factor made it easier for me to pick the right one when up against it in the heat of the moment as my habit was for my Chrome Leica to always be loaded with B/W film and my coloured Leica with colour film.
Fifty five years later I only have one M4, true to form for me at least it is a genuine German E Leitz of Wetzlar made body from 1967 and of course it is Silver chrome, which by virtue of its far superior and harder wearing exterior coating remains in very close to mint condition which is still important to me.
My M4 though will never command as high a price should I wish to sell it as even a virtually clapped out Black one would, but I not only accept that but I would not wish to swap it for any of the other variety’s anyway, not least though because as a Photographer rather than a collector I still think my German made Chrome camera is better.
As you probably know I was introduced to a Leica X Vario fairly recently, in 2016, so I don’t have a take on the M4. But since acquiring a M11 a few days ago I am reading and learning a lot about the brand’s history, so it is articles like these that are very welcome. Oh, and I just became a member of the LHSA too. Sorry, now back to the pundits.
Welcome Farhiz. I am the editor of the LHSA Viewfinder journal. As a member, you can research past issues on the website. Enjoy!
Hi Farhiz,
Thanks for becoming an LHSA member. Not only are we the go to place to learn about Leica history (check out our new Archive section of our website), we are in the process of expanding our reach internationally, and in a bold way. Stay tune for more on this this fall (2022).
Gary Hough, Past President LHSA
Thank you, Bill Rosauer and Gary Hough! I began with the Archive section. I entered a search for “Bresson” and it brought up 37 VF articles that had a reference to him. That was a nice way to read some of the VF issues through the years on various topics.
Welcome to LHSA Fahriz. I am currently a Vice President of LHSA and we welcome new members from all over the world. You can contact me through Mike, of course, and, if you want, you can ask him to give me your email. The LHSA AGM will be in my home town, Dublin, next October. I appreciate that Dublin is a long way from where you live, but it would be nice to meet you some time. I am also leading an International Working Group in LHSA with a view to expanding our offerings to members around the world.
William
Thank you, William. I’m sure I’ve mentioned it before, I would love to travel around Ireland one day.