Archived posting to the Leica Users Group, 1996/08/19
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]
Other than its Minolta origins, I am curious to know what it is about the
current Leica R system body that many in the photo community regard as a cut,
or two, below the best (e.g. less rugged).
My first camera was a Minolta SRT-101, which I liked very much. Next was a
Nikkormat, the most rugged, indestructible piece of photo gear I have ever
owned (the 85mm/1.8 Nikon lens that I used as a primary lens was one of the
sharpest lenses I have ever seen). Next came two Nikon F2 Photomics --
trouble with the meters, but the best feeling, albeit heavy, 35mm camera in
my hands. Next came a Nikon FE, brother of the acclaimed FM. In terms of
construction, this camera was several cuts below older Nikons -- very light
and compact, but subject to a variety of electronic problems.
In the early years of autofocus, I purchased a Leica R6 and an M6. I have
always loved the feel of the R camera, probably because I grew up with SLRs.
The R cameras work beautifully, feel good in the hands, are very quiet, and
while simple to use, provide more information through the viewfinder than
M's. Even I can tell, however, that the R's are not quite on a par
mechanically with the current M6.
I also own a Canon EOS-1n. While the Canon is an incredible picture-taking
machine and the Leica M is compact and jewel-like in its operation, I would
have more trouble parting with the R6 than any camera I own. I enjoy the
feel of the camera, its balance between simplicity and features, and the
quiet, yet solid, sound of its shutter. I realize few will agree with the
above, but it forward nonetheless as conclusions from my own experience.
* * * * * * * * * * * * * * * * * * * * * * *
Sent from Designlink, San Francisco.
Online Service for Creative Professionals.
Modem: (510) 933-9676; (510) 845-4187; (415) 241-9927
Internet: Via TCP/IP PORT: 3000; IP: 206.14.15.3
WEB: http://www.designlink.com
* * * * * * * * * * * * * * * * * * * * * * *