{"id":68094,"date":"2017-10-30T07:35:53","date_gmt":"2017-10-30T14:35:53","guid":{"rendered":"http:\/\/erickimphotography.com\/blog\/?p=68094"},"modified":"2017-10-30T07:35:53","modified_gmt":"2017-10-30T14:35:53","slug":"review-film-leica-mp-leica-35mm-f2-summicron-asph","status":"publish","type":"post","link":"https:\/\/erickimphotography.com\/blog\/2017\/10\/30\/review-film-leica-mp-leica-35mm-f2-summicron-asph\/","title":{"rendered":"Review: Film Leica MP + Leica 35mm f\/2 Summicron ASPH"},"content":{"rendered":"
\"eric
ERIC KIM x LEICA MP + 35mm Summicron ASPH + SF 20 flash + HENRI NECK STRAP<\/a> \/ Portrait by Benjamin Thompson<\/figcaption><\/figure>\n

The LEICA MP is probably the best film camera ever made, and ever will be made. Same goes with the Leica 35mm f\/2 ASPH lens, the best Leica lens that money can buy.<\/p>\n

<\/p>\n

Free Book: LEICA MANUAL ><\/a><\/strong><\/p>\n

Advertisement<\/h2>\n
\"LEICA
LEICA MP + HENRI NECK STRAP<\/a><\/figcaption><\/figure>\n

To start off, this is all just my opinion of the film LEICA MP and also an advertisement for the Henri Neck Strap<\/a> (made by HAPTIC INDUSTRIES<\/a>, and what I consider the best neck strap for a Leica\/rangefinder\/Film camera\/Fujifilm\/any mirrorless). So feel free to ignore me. Cool, let\u00e2\u20ac\u2122s get started.<\/p>\n

Why Film?<\/h2>\n
\"LEICA
LEICA MP + 35mm f\/2 Summicron + Yellow filter + HENRI NECK STRAP<\/a><\/figcaption><\/figure>\n

To start off\u00e2\u20ac\u201d why film?<\/p>\n

To me, film is a unique chance to get back to the roots of photography. Shooting film has helped me gain more appreciation for the art of photography, and helped me appreciate the masters of photography<\/a> so much more.<\/p>\n

\"Leica
Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

Nowadays, we complain about our (phenomenal) digital cameras. We complain about crop sensor, noise at ISO 12,800 \u00e2\u20ac\u201d whereas the masters shot with (clunky) film cameras with ISO 10-25 film. Yes, ISO 10<\/strong>!<\/p>\n

Anyways, shooting film has helped me become a better photographer in these regards:<\/p>\n

    \n
  1. To hustle harder to get the shot. Uncertainty whether I \u00e2\u20ac\u0153got\u00e2\u20ac\u009d the shot or not (because I cannot \u00e2\u20ac\u0153chimp<\/a>\u00e2\u20ac\u009d and check the LCD) \u00e2\u20ac\u201d so I take more pictures to guarantee a higher chance of capturing \u00e2\u20ac\u0153the decisive moment<\/a>.\u00e2\u20ac\u009d<\/li>\n
  2. Letting my pictures \u00e2\u20ac\u0153marinate<\/a>\u00e2\u20ac\u009d and sit longer before reviewing them\u00e2\u20ac\u201d which lets me emotionally disconnect from my pictures, to judge them more objectively. For example, I didn\u00e2\u20ac\u2122t review 100 rolls of black and white Kodak TRI X film for about a year<\/a>, so I judged my pictures like they belonged to someone else. Also similar experience to shooting a bunch 164 rolls of Kodak portra 400 color film for after a year<\/a>.<\/li>\n
  3. Benefit: I\u00e2\u20ac\u2122m more picky when shooting a scene, therefore I don\u00e2\u20ac\u2122t just take random pictures of what isn\u00e2\u20ac\u2122t important. By paying money for the film I shoot, I got \u00e2\u20ac\u0153skin in the game\u00e2\u20ac\u009d\u00e2\u20ac\u201d and therefore I end up only shooting what is really important to me. The benefit is that I have a higher \u00e2\u20ac\u0153hit rate\u00e2\u20ac\u009d\u00e2\u20ac\u201d fewer crap photos, and a higher percentage of good pictures. The ultimate benefit: fewer bad pictures to look through.<\/li>\n<\/ol>\n
    \"\"
    RICOH GR II<\/figcaption><\/figure>\n

    And nowadays, I\u00e2\u20ac\u2122m shooting mostly digital on RICOH GR II<\/a>. Shooting film makes me so so much more grateful for digital \u00e2\u20ac\u201d for the convenience (and cost savings). I\u00e2\u20ac\u2122d say after shooting film for a while, it has taught me more discipline as a photographer (which is a good skill for all visual artists).<\/p>\n

    \"\"
    Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

    To learn shooting film, pick up FILM NOTES<\/a> and check out my FILM PHOTOGRAPHY 101 series<\/a>.<\/p>\n

    Leica MP<\/h2>\n
    \"\"
    Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

    The LEICA MP: MP stands for \u00e2\u20ac\u0153mechanical perfection\u00e2\u20ac\u009d. Assembled by hand by some German guy in a white lab coat somewhere in a German factory, it is robust, solid brass, and will last probably longer than you. It\u00e2\u20ac\u2122s the only camera (film or digital) I can imagine giving my future grandchildren.<\/p>\n

    Practically speaking, it\u00e2\u20ac\u2122s just a brass box that holds and exposes film. The body itself doesn\u00e2\u20ac\u2122t \u00e2\u20ac\u0153take better pictures\u00e2\u20ac\u009d.<\/p>\n

    \"\"
    Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

    The only reason to get a film Leica MP:<\/p>\n

      \n
    1. Aesthetics: The black paint \u00e2\u20ac\u0153brasses\u00e2\u20ac\u009d (turns a golden color after use) over a period of time, which is beautiful\u00e2\u20ac\u201d like the Japanese aesthetic of \u00e2\u20ac\u0153wabi sabi\u00e2\u20ac\u009d (things that get more beautiful through wear and tear). I bought my Leica MP secondhand from my friend Bellamy Hunt from japancamerahunter.com<\/a> \u00e2\u20ac\u201d and when I bought it, it was mint. Then over the years, my wear and tear has started to show in the camera, and I feel great pride in it. The edges are a nice golden color, as well as the film rewind mechanism, and the film advance lever.<\/li>\n
    2. More robust: the film Leica MP is a relatively new camera\u00e2\u20ac\u201d started getting produced in the 2000s. Which means, it is more reliable and less prone to break or malfunction compared to the older film Leicas. For example, I\u00e2\u20ac\u2122ve had issues with older film Leica M6 cameras (my film advance lever broke and got stuck, and another time the film rewind lever broke). Therefore, the benefit of the LEICA MP is that it has a higher quality control.<\/li>\n
    3. Minor improvements: slightly less glare in viewfinder \u00e2\u20ac\u201d but to be honest, I didn\u00e2\u20ac\u2122t notice much difference between the Leica MP and film Leica M6 in real life use.<\/li>\n<\/ol>\n
      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400 + flash<\/figcaption><\/figure>\n

      There are other things I\u00e2\u20ac\u2122m not noting, but these are the basics.<\/p>\n

      How it is like shooting with the Leica MP<\/h2>\n
      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      To be honest, I prefer the weight of the Leica M6. The Leica M6 is made of magnesium, which is a lot lighter than the all-brass body of the Leica MP.<\/p>\n

      \"\"
      Leica M6 + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      But in terms of the feel, you cannot best the ergonomics of how a classic Leica feels in your hand. It\u00e2\u20ac\u2122s the perfect size: not too big or small. The proportions are perfect.<\/p>\n

      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak TRI X pushed to 1600 with yellow filter.<\/figcaption><\/figure>\n

      With the Leica MP the film rewinder mechanism sits flush at the top, which aesthetically flows better with the design. But it\u00e2\u20ac\u2122s slower to rewind compared to the faster and more ergonomic Leica M6 rewinder.<\/p>\n

      So technically, the Leica M6 is a more \u00e2\u20ac\u0153functional\u00e2\u20ac\u009d camera, whereas the Leica MP is a more aesthetically charming camera, that is just a bit more study.<\/p>\n

      Film advance lever<\/h2>\n
      \"Leica
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak TRI X pushed to 1600 with yellow filter.<\/figcaption><\/figure>\n

      My favorite part of the film Leica MP: the film advance lever is pure sex. When I advance it, it is like putting a hot knife through butter. It is smooth, exotic, and satisfying.<\/p>\n

      \"\"
      Leica MP<\/figcaption><\/figure>\n

      I actually really enjoy shooting pictures on the Leica MP for the haptic feedback whenever I take a picture, and advance the film lever. Also, the shutter sound of the Leica MP: a subtle click, very quiet, subtle, and barely audible. Good to be stealth when shooting in quiet places.<\/p>\n

      Viewfinder<\/h2>\n
      \"Blue
      Blue stage. London, 2013. Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      The viewfinder is big, clean, and bright. I use the .72 viewfinder (default), and shoot with glasses. This means the viewfinder frame lines are at the edges of the viewfinder.<\/p>\n

      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      Therefore if you shoot with glasses on, do not use a lens wider than 35mm on a Leica<\/strong>.<\/p>\n

      \n

      Leica 35mm f\/2 Summicron ASPH<\/h2>\n
      \"Man
      Man with red tape. Venice, 2013. Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      The Leica 35mm f\/2 Summicron ASPH is known as the \u00e2\u20ac\u0153modern\u00e2\u20ac\u009d Leica 35mm lens. It was designed to be used on modern digital Leica M bodies. It is bigger, heavier, and sharper than the older Leica 35mm f\/2 Summicron lenses.<\/p>\n

      The reason I love the lens is the build quality, ergonomics, and construction.<\/p>\n

      \"\"
      Leica M6 + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      The focusing tab at the bottom of the lens is perfectly designed. There is no \u00e2\u20ac\u0153play\u00e2\u20ac\u009d (wiggling of the lens focusing mechanism). It is firm, yet fluid to focus.<\/p>\n

      The lens makes good pictures. The pictures are all sharp, good contrast, and good colors.<\/p>\n

      \"\"
      CONTAX T3 + Portra 400<\/figcaption><\/figure>\n

      To be frank, you could probably do a side-by-side comparison with a 35mm f\/2 Zeiss or 35mm f\/2.5 Voightlander lens and not see that much of a difference in terms of image quality. Honestly, the image quality of the compact film camera the Contax T3 was pretty similar to the Leica 35mm f2 Summicron ASPH lens.<\/p>\n

      \"\"
      CONTAX T3<\/figcaption><\/figure>\n

      I\u00e2\u20ac\u2122d say, the only reason to buy the Leica 35mm f\/2 ASPH is that you can afford it, that it is the only 1 lens you will need (it is the only Leica lens I own), and the build quality and construction is very important to you.<\/p>\n

      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400 + flash<\/figcaption><\/figure>
      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400 + flash<\/figcaption><\/figure><\/p>\n

      Also as a side note, when I first bought my Leica M9 I bought a used Leica 35mm Summilux f\/1.4 (pre-ASPH) lens. The Leica Summilux was too big and heavy, so I \u00e2\u20ac\u0153downgraded\u00e2\u20ac\u009d to the smaller and lighter Summicron f\/2 lens. I almost always shoot the lens at f8 for street photography<\/a>, so I don\u00e2\u20ac\u2122t even need f\/1.4.<\/p>\n

      \"\"
      Leica MP + Leica Summicron 35mm f2 ASPH + Kodak Portra 400 \/ f8, 1\/250th shutter speed<\/figcaption><\/figure>\n

      Also my good friend Todd helped me sell my Summilux, and the Leica 35mm f\/2 Summicron ASPH was actually his old kens. So essentially I took the cash he helped me get for the Summilux (used the cash to pay off some student loan debt) and gave him the remaining money to buy his old Summicron (thanks Todd).<\/p>\n

      \"\"
      Leica M6 + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      How to shoot with a film Leica<\/h2>\n
      \"Zone
      Zone focusing scale example from FILM NOTES<\/a><\/figcaption><\/figure>\n

      I have written in-depth how to shoot with a film Leica (or any rangefinder) in LEICA MANUAL<\/a>, and have more practical tips and assignments in FILM NOTES<\/a>.<\/p>\n

      \"Zone
      Zone focusing at f\/16 (notice the range of focus at f\/16) When lens is pre focused to around 1 meter. .7 meters to 1.5 meters are in focus.<\/figcaption><\/figure>\n

      Basically, I recommend using ISO 400 film, and shooting at f8, and just changing your exposure via the shutter speed.<\/p>\n

      \"\"
      Leica M6 + Portra 400<\/figcaption><\/figure>\n

      The Leica MP has a built-in light meter, which is VERY USEFUL. The Leica M6 (the best \u00e2\u20ac\u0153bang for the buck\u00e2\u20ac\u009d\/value Leica rangefinder) also has one. I generally just listen to the light meter when shooting.<\/p>\n

      \"\"
      Natural light, listening to the light meter. Leica M6 + Leica Summicron 35mm f2 ASPH + Kodak Portra 400<\/figcaption><\/figure>\n

      But general settings at ISO 400 at f8:<\/p>\n