Bowens 500 via “Big Betty” beauty dish and grid. Approx 1 foot from subject pretty much straight in front.
Some of you good people may remember a post around 6 months ago about my dirty weekend with a Leica M8. If not then you may wish to go read that before carrying on with this one.
Well the fact of the matter is I never got her out of my system, a few astute folk who follow my work may have already noticed but that camera was rapidly followed by my now precious M8.2.
So why the rapid change of mind? Why the “it just ain’t right” “Oh it’s so right” split?
Perhaps I owe you an explanation. . . . . . .
Some of those you may have seen before, some are “none selects” others are just little pieces of what I see.
Warning – This is a long post so maybe go grab a cuppa before continuing . . . . . .
As you can see the Leica has been with me on many a job, I slowly tried it out and instantly realised why I had a need for this little German gem. I just get different photographs when I use the Leica than I do with the Canons, not better just different. Particularly on fashion jobs, I can just calm everything down from the high energy studio work and tuck into the corner creating a very different feel between myself and my subject. It becomes a much more personal process, just my subject, me and a little camera. Simple light & simple gear, leaving all the more room for emotions and feelings. It’s like that feeling of peace you get when slowly breathing out, well to me it is anyway.
I won’t lie, some of the joy in using the Leica is in the fact it’s such a simple tool. It makes you work for the photographs you create with it. That’s an important point, I tend to create photographs with the M, not just take them. Sure i’ve had a little Auto / Auto / f/8 preset focus action but it just isn’t my way of working. If you want a sharp well exposed photograph of something with the M then you better get focusing and thinking about how you want the image to look. Could I have taken the photographs I have with a decent compact? I guess but the fact is I wouldn’t have enjoyed the process as much and that would have probably shown in the final image. Sure the final image is all that counts but if I don’t enjoy and revel in the process then my love isn’t going to come through in that final image. My Canons are almost like extensions of my body in that I know them both inside out and back to front (literally) I don’t have to think about what I want them to do, my fingers know exactly how to translate my minds want into the camera.
“A poor craftsman blames his tools” as the saying goes, so does a good craftsman also accredit his skill to his tools? None that I know of. The best response to the question asked often of photographers is “I use my eyes”. But to a degree it is about the camera. It’s about how that camera (tool) makes you feel when you use it. Much like how a £7000 bespoke suit from Brioni is going to make you feel slighty different than a £35 supermarket version. Both do the same job yet only one is going to make you feel like James Bond (I admit that only one is going to be worth more than your car too but hey). A friend made a good point once, he’s a rather talented carpenter and he himself admits to buying more expensive tools knowing that he will enjoy using them much more. They feel nicer, look a darn sight sexier and more than likely out last the cheaper option.
So that’s one reason for sticking with the Leica, it’s a well crafted, beautiful feeling tool that engages me like no other camera. As a working photographer that’s an important factor when creating my work (provided that those final photographs are of the quality my clients and I demand). Speaking of my clients, they don’t care what I use or how I create the photographs they pay for (well within reason and legal parameters), mostly all they get to see is those final images. So long as those photos blow them away, I’ve done my job and the exchange of currency is finalised.
What about all those negatives I spoke about when first using the M8?
Well let me recap –
Shutter release feel
40mm f2 cron performance
Colour reproduction & white balance (The UV problem)
Firstly the noise, yes the M8 is a noisy beasty when shooting. I swapped up to an M8.2 (which was Leicas little upgraded model with new shutter box, screen and something else I forget). It’s quieter, not ninja quiet but quiet enough for me. Plus the M8.2 has a natty discreet mode where the shutter doesn’t recock until you release the shutter button, good to dampen the sound a little. Oh yeah and it’s the only digital camera I’ve had that I don’t have a screen protector on (well actually the 1Diii doesn’t have one either but that’s because that thing is a tank anyway) The sapphire crystal glass is somewhat of a bourgeois addition but hey if it means I can sling the thing in my bag without fear of a scratch then count me in.
Next the shutter button feel, still a bit gritty but I’m getting used to it. I’ve heard that one can tinker with it to make it all smooth but I don’t really want to get the screw drivers out just yet.
ISO performance – Right, here’s my honest take. If you’re working in colour then 640 is your maximum working iso (and that is at a push) The work around is to accept that and either use fast lenses (more on this later) or switch to B&W. I’m more than happy shooting ISO 1250 knowing the final image is going to be monochrome. In fact my working settings are DNG (RAW) + JPEG where the JPEG is B&W so when I review my shots I see them in B&W.
The 40mm f2 summicron performance compared to on film – Well I’ve shot this lens with and without a UV/IR cut filter, with and without coded setting. Fact is yeah sometimes the corners are a bit soft wide open, but as a fashion/portrait photographer this doesn’t really bother me so much. I think the reason I’ve never really noticed this before on film is me shooting fast films so the grain covers some of that softness. This being said I’m never going to be the guy who wants clinically sharp and smooth photographs. I pretty much always throw grain over the top of all my digital work to give it the look I desire. Plus another factor of the apparent soft corners is down to how ridiculously sharp the centre is wide open. This is one thing that still amazes me about the M, even having said images sharpness is not the be all and end all, the resolution of the kodak sensor is ridiculous.
Colours – Firstly the magenta blacks problem. Well documented and known about, the easy fix is an UV/IR cut filter. Sometimes I use one, sometimes not, sometimes I wish I had used one but a little desaturation localised brush work sorts out most of the problem. Under good light the colours just sing, I’d say it runs into problems still when under “odd” lighting conditions. So mixed sources normally indoors, Marks simple solution? B&W 🙂
So to how the Leica managed to take ahold of my heart. Well for one thing it really does slow me down, so again on a job I can be rocking with the Canons and then just step back and simplify, breathe and zen out. It brings me closer to my subject, in a way it takes me from Fashion photographer to Portrait photographer.
Right, time for something of a 6 month review, in the opposite way of most reviews this is my opinion, no test charts, no tech specs, just how I feel the camera works for me. It isn’t a comparison of DSLR Vs rangefinder, I use both and probably always will, each has a place in my bag.
So to start my little review here are some photographs (seems a good starting point);
A quick note on the last shot, see that black suit she’s wearing . . . . . . . . yeah I wasn’t using the IR cut filter and so you can see what the magenta problem can look like. As I say not a massive problem and fairly easy to correct but I wouldn’t want to do a whole shoot of correcting and obviously for fashion true colours are quite the big deal at times . . . . .
6 months down and the Leica is getting more and more shoot time on jobs with me, partly because I’m more confident in what it can give me, plus partly because I’m more able to command gaps within the shoots to step outside the normal shooting approach.
It’s my always and everywhere camera. As such it’s taken a beating, I’ve probably shot over 2000 frames with it (so to those thinking why not shoot a film Leica that’d be over 56 rolls of film which is probably about £300 plus days worth of scanning time). Here are a few more everywhere shots;
So it’s been around a bit. It’s a joy to use and I get a lot out of that enjoyment.
I promised a little review but to be fair this is a 4 year old digital camera. It’s still very expensive and it has it’s problems. I’ve had conversations with people asking how I find it and I feel kind of bad saying yeah I love it, the image quality can be amazing but I wouldn’t recommend they buy one. Fact is if you’re in the market for a new (or new old) digital camera there are much “better” options for you for the amount of money a basic M8.2 set up will cost. For example a decent used M8.2 will be around £1800 for the body, a bog standard no frills 35mm voigtlander lens will be maybe £300 used (a decent 50mm leica summicron £600) So we’re talking over £2000 for one camera and one lens. This is big money in the current camera market. I could go out and buy a used Canon 5Dmk2 and add a 35mm f2, 50mm f1.8 and 85mm f1.8 for around the same amount. How can I ever recommend someone go and buy the Leica right. However if that person says “I love shooting with rangefinders and want a digital experience with it.” Well now we’re playing a different game. The field is very very narrow. You can get the Epson r-d1 (very old tech but a lovely looking camera), the M8 or the M8.2 (or I guess you could argue to a point any film rangefinder and a good scanner plus a stack of film but lets not have that discussion). To me the M8.2 is an addition to my bag rather than a replacement. Could the Fuji X-Pro do the same job, to me not really, it isn’t a rangefinder. It’s autofocus for starters and much of the joy of a Leica is it’s simplicity of use, you set the aperture, you set the shutter speed, you focus the lens and you compose the photograph. If it sucks then you only have yourself to blame (it’s a brutal world). Ever tried manually focusing the 50mm f1.2 L lens handheld on any Canon? trust me even that super high tech auto focus system has it’s problems sometimes. Now take the even faster 50mm f/1.1 Voigtlander Nokton, twist it, see it’s focused, take the shot and move on. It really is that simple.
So here’s the crux, would I recommend the Leica M8.2? in answer, no & yes. It really depends who is asking and what they want it for. If you’ve never used a rangefinder before and this will be your only camera, I’d be on the no side of the fence. If you like the rangefinder experience but want an all digital experience, maybe. If you have a solid DSLR set-up but want to add a rangefinder for the joy of using one and for a different feeling while shooting, YES.
Using the Leica is like using no other camera, the photographs one creates with it seem more personal simply due to the fact that the photographer makes all the decisions. To me my subject is more closely involved in the process, they see more of my face when I shoot, I’m normally closer to them, the set up is very simple and as such a more intimate feeling is evoked. Not in an odd way just the process becomes (to me) more naturally collaborative. Behind the Canons I direct, behind the Leica I play more of a reactionary roll.
So to me, I love my Leica (as much as one can love material goods). It forces my mind and creative process down a different path and from that I’ve grown as a photographer.
The final take away from this non-review review, only you will know whether or not the M8 / M8.2 is right for you. No amount of reviews and forums and looking at data charts will inform you, sure use those to convince your other half but in reality if that Leica bug bites then there is only one way to find out (on the plus side if you change your mind they do hold their value fairly well 🙂 )
I’ll leave you with a few more photographs from the last 6 months;
Told you I’d been out and about in between my hectic shoot schedule of late. Here’s a little of the personal work I’ve neglected posting for a while.
Sometimes you have to stand out from the crowd in order to reach for the sky.
Leica M8.2 40mm f/2 Summicron
Another from last week with Jaime, well I say another it’s the same shot from before but with a little something something. He’s somewhat of a creative man and put this together. I dig it and figured I’d share the love. Check out more of Jaimes stuff here jwandsmurrayillustration.tumblr.com/
Model : Jamie Wands-Murray (Maverick Models)
Photographer : Mark Ivkovic (moi!)
Post Production – Jaime
Leica CL 40mm f2
Kodak Tri X in D76 (standard)
Model : Jamie Wands-Murray (Maverick Models)
Photographer : Mark Ivkovic (moi!)
Leica CL 40mm f2
Kodak Tri X in D76 (standard)
Using the film cameras more and more for these shoots. Partly as I’m starting to trust that they still work and partly as I’m still in love with that little difference that the film look has.
I’m still running with the Film26 project, 26 two week periods of the year where we work through the alphabet for subject matter. You may now understand the title of the photo & this post.
I have to say I’m blown away by this little rangefinder. Previous to the CL I’ve used a rare (simply because they’re kinda worthless and mostly broken) Lordomat & a Yashica MG-1 (cheap as chips fixed lens “compact” rangefinder from the 60’s (ish).
Before you all get “I thought you were immune to G.A.S.” this was all early(ish) last year during my long term GAS illness.
Now the Lordomat was my first rangefinder camera and for that I dig it, it is also a thing of beauty. All chrome and metal and heavy. The lens was actually pretty good if slightly dreamy wide open. I just hated the tiny (and I mean tiny) viewfinder. So I started looking for something to replace it with (whilst ignoring the Leicas) I really wanted something handy but also quick to use almost as a snapshot camera. So I headed into the muddy waters of 60’s Compact rangefinders. Compact is a laugh, you’ll see if you ever pick one up. The Olympus 35 SP was my real aim but not for the price they now go for. So I stuck with the Yashica Electro that isn’t a Yashica Electro and only cost me £15. It’s okay, shot plenty of stuff with it but the aperture priority only shooting mode really started to bug me as I had to rely on the meter firstly being right and secondly being accurate.
So to the Leica CL. This is pretty much exactly what I’ve wanted from a rangefinder since I discovered how much I like them. Sure i’ll admit it isn’t a Leica M but it takes M lenses and shoots the same film. It’s lighter, smaller and has a built in meter (which works). Plus if someone asks to see it I’m not going to have to ask them to pay a deposit before I hand it over.
Maybe soon I’ll run through my medium format camera of choice these days. I’ve been trying a few different systems (via a process of begging and borrowing) over the last 6 months or so and I’m now feeling sure that I’ve found my camera.
So more film coming from me in various sizes, type and such. Five rolls went to the lab yesterday and I’m planning on running a good few through the cameras during my shoots this weekend.
Oh happy Valentines and all that too.
So I’ve been bombarding you all with a lot of photographs lately, I figured I’d take the weekend to put down some words for a change. After all, I know how you love a rant every now and then. Plus something has been welling up inside me of late, especially with all the new camera announcements. So if you’re ready to ride this one out with me, grab a seat, maybe a hot beverage and perhaps by the end I’ll have figured out what I’m trying to say.
Firstly for those not of a geeky camera leaning GAS is photo-nerd speak for Gear Acquisition Syndrome. This is the usual follow up of spending too much time online looking at photographs, seeing what camera was used to take said photographs and then heading over to eBay to try and find one cheap. One of the problems with being a photographer is that we all have an inner gadget geek which drives part of our brain. The artist part is happy with whatever creative tool it is given, often it is happiest with the most limiting of kit. The geek side however, that side wants new stuff, new (old) stuff, different stuff. It wants all this as it feels that somehow by having it magically the photographs the photographer creates will be better. Now I’m fairly sure most will agree that in the modern digital arena this problem has become amplified with all the manufacturers telling us about the super dooper new features and mega high iso capabilities etc etc. People get really hung up on this stuff and one quick glance over some of the nauseating internet forums will reveal just how strongly some folk feel about how important it all is. I guess it’s human nature to want to have better “stuff” than the others and to try and claim some higher standing by having said “stuff”. However photography has a great leveller of the playing field in it’s bag of tricks. The end product. I see many self proclaimed “pros” shooting with the latest and greatest camera gear producing very mundane and somewhat dead photographs. On the flip side I see many modest “hobbiests” shooting beautiful, heart wrenching work on cameras aimed at the entry level, or on cameras manufactured 30 years ago. So what does this tell me, does this mean we should shed ourselves of out megapixel beasts and go grab a point and shoot? no. Does it mean we should all go and shoot film just because this one guy on the internet said it was cool? no. Should we maybe just stop and think about what it is that new bit of kit we’re lusting after is going to grant us? maybe.
I feel one of the things we’ve lost in this digital age is time. Time to truly acquaint ourselves with our tools, to fully understand the strengths and weaknesses of each piece of kit we own. The only way to get this is through spending time with our equipment, shoot with it, feel how it works, or if you like “become at one with your camera”. In the olden days (man I feel old typing that) we’d have one camera for years, the only thing which would make a huge difference would be the film you ran through it. Now you’re lucky if the fancy new DSLR you bought will last two years. Less if you spend time reading photo magazines and review sites. A lot of the photo industry is about trying to part you from your hard earned money, to be fair I’m part part of that crowd in that I’d like my clients to part with hard earned money in return for some beautiful photographs. However much of the industry would have you believe it’s more important to have the latest camera and lens than it is to truly understand how to create those beautiful photographs. I’ve seen many a person on photography workshops and training sessions not really know how to use their cameras and I don’t mean how to use the camera to take photographs I mean the basic stuff like change iso, format a CF card, that kind of stuff. You know read the manual stuff. I’ve seen the “Photography basics 101 : how to take great photographs” courses end up with people lining up to ask how to set the camera up. I’ve even worked with “pros” who seemingly lack those same skills much to my dismay. As Mr Canlas tweeted yesterday “if you accept money for shoots, you should know how to meter.” Pretty much sums it up
Know your gear.
Now I’m not claiming to be immune from said GAS, after all some may recall my acquisition of a Canon 85mm f1.2 last year. A lens which is rather highly regarded. Do I still own said lens? I do not. Why not? it spent far too much time sat on the shelf than it did in my bag. At that time last year I was all hung up on the gear I had and on what I wanted to be able to shoot the kind of photographs I thought I wanted to shoot. I was all about the geek rather than the artist. Looking back If I’d just concentrated on going out and shooting those photographs I’d have learnt a whole lot more than I did photographically. Sure I learnt that the 85L is a great lens (in optical and bulk terms), however it just wasn’t for me. Would I buy one now if I had the spare cash floating around? probably not, there are a number of other things I’d invest that cash into before another 85L.
So what is it that I’m really going on about?
Well I guess I’d be nice if people started to rebalance their inner battle between the nerd and the artist. Let’s all just step back from the latest press releases about magical new cameras and concentrate on actual photography. You can lust after cameras and lenses that’s perfectly fine, just don’t let that be your overriding pull to photography. If you’re not out there creating new work, new work that you are proud of, then who the hell cares how many megapixels you have. Or that the photograph you took of your cat last night in the kitchen without the lights on at iso 1000000 with your 12-1000mm f1.4 lens and at 30 frames per second has next to zero noise in it at 100%. Seriously unless you just got a commission to photograph really fast black cats in a coal mine under ambient lighting conditions it really isn’t that important.
So to re apply the Baz Lurhman line “Don’t read beauty magazines, they will only make you feel ugly”, don’t spend all your time reading photography magazines they will only make you poor. The reward from going out and taking a great photograph that you are proud of is much longer lasting than that momentary joy you get from buying a new camera.
Just saying. . . . . . . .
Photographer : Mark Ivkovic (moi!)
Headed over to Hull for a shoot with Ashley last Sunday. If I had thought that Yazi’s session on Saturday was cold, putting ourselves next to the North sea wind made for some really biting conditions. Still I did manage to find myself some wicked bright backgrounds.
Been meaning to do some more of these away from the rider portraits, finally got around to one during a shoot.
Very early edits from todays portfolio shoot with Jamie. A little modern twist on a Teddy boy style.
Model : Jamie Wands-Murray (Maverick Models)
Photographer : Mark Ivkovic (moi!)
The snow is sticking around making some of my city locations either look odd or be really too slippery to shoot at. Having said that it’s nice to have the ground be a huge reflector no matter where I go. Some you win some you lose right?
We both managed not to freeze thanks to a mid session hot beverage, plus we put some leather down crossing the city.
PRobably more from this session later in the week too, not to mention more from Yazi and some from Sundays shoot with Ashley. Told you I was hustling this year.
Just a couple from the first location of last Saturdays session with Yazi. Taking a slightly less straight edge approach with this one.
Model : Yazi van Bathory
MUA / Hair : Yazi
Cleaver : Models own . . . . .
Photographer : Mark Ivkovic (That would be me again)
Those who may have followed my work for a little while may notice I like to find bright walls when shooting on location. I’m not a huge fan of just a brick wall but I’m a sucker for strong solid blocks of colour I can shoot against. I thought the last red wall I found was good but this one, wow this one POPS. A perfect backdrop for the start of this session with Yazi.
On the topic of Yazi, she’s a trooper for sure. What you can’t make out here is that it’s pretty much below freezing and about to snow. She had on that little dress, me on the other hand had two jumpers, gillet, scarf, gloves the whole winter weather works. Bless her she even put up with the blizzard we got later on too. That’s a sign of a top model in my books.
More to come from this session later in the week as we really pulled out some great stuff. She even gained a couple of new fans whilst shooting . . . . . . . . .