It has almost been written and used to death. The ‘decisive moment’ has been the topic of many, many articles on documentary photography. And not just documentary photography. Even studio photographers talk about the decisive moment these days. In a way, there can be a decisive moment during a studio session, but I think that’s not what Cartier-Bresson meant, when he talked about this subject. Instead, HCB, who is regarded to be the ‘inventor’ of the decisive moment, explained that:
There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever…
On the other hand, he also said this:
There is nothing in this world that does not have a decisive moment…
So studio photography IS all about decisive moments. Anyway, for me, as a documentary -wedding- photographer, the decisive moment is crucial. In fact, I always tell my customers that I’m not interested in perfectly sharp pictures without any emotion or story telling. If a picture is able to convey an emotion or tell a story, I’m not put off by it’s technical imperfection, up to a certain limit of course. That’s also why I keep my shots simple and don’t use any tricks. It is all about the things that happen in the picture.
Let’s have a look at some shots I took.
Here I was just hanging out at a little square in Buenos Aires. I watched two kids playing with a car. I got a little closer and suddenly, one of the boys took this position, looked between his legs and I noted the huge tear in his pant. I focussed on the first boy in a reflex and hit the shutter. Technically, the image would have been better if I would have focussed on the second boy, but to me, the pictures tells the story I witnessed that day.
With this one, I was a bit lucky. I saw the two kids and I liked the pink leash and shoes. When I focussed, framed and hit the shutter, the dog made a move and the boy jumped away. There is blur in the boy and the dog, but for me, that makes the picture just better.
This one is one of my wedding favourites. I’ve been awarded for this shot with a WPJA award and I truly love it. The couple was laughing about some jokes and it looked funny, so I focussed on the groom, who seemed to have the most fun. Then they cracked another joke and they went totally mad. I quickly hit the shutter and the moment was just right. I used the Monochrom for this one, by the way.
The key thing here is to be ready. And that means exposure set and ready to focus, or pre-focus. Being ready at the right time means training, even more than with a DSLR. If you get it, the reward is tremendous.
I’m a big fan of Thumbs-ups on my Leicas. On both M9s that I own, the original Thumbs-up are almost permanently attached. I moved one of these to my new M240 when I bought it, but there is one big disadvantage with the current design: it leaves the EVF port useless and that’s inconvenient. If there is enough time, switching between the thumbs-up and EVF is not a problem, but on a wedding, there is never enough time, so I tend to use the EVF only on non-wedding occasions.
I mounted the Thumbie a few hours ago and it was very easy. I’ll keep you posted. A proper review will follow.
Taking care of your batteries? Excuse me? Yes, I’m not kidding. Batteries need to be taken care of. And even more so if they cost 120USD or more. I learnt my lesson when I tried to shoot with my Canon 5D2 after leaving it in a bag for months. I had to recharge the battery, but it didn’t work like it used to work. And when I bought my Leica M240 I knew my M9’s would get less action too. I bought sticky labels, cut them into tiny pieces and gave each battery a number. When I use one of the M9 cameras, I make sure all the batteries get as much use as I can. And after using, I charge them to full capacity, after which I let them ‘drain’ to 60% capacity. This is the best percentage to store your batteries for a longer time. It’s a very simple trick, but it will keep your batteries in condition.
Santiago de Cuba, Cuba. Shot with Leica M9-P and Voigtländer 21/4 at 160 ISO. Printed on Fuji DP-2 Lustre on 30×20 cm. Signed and limited to 5.
Sold!
I was walking behind the old man, when I saw a little boy walking towards us. He was looking worried and I wondered what happened. I took the shot from the hip guessing my distance on the lens scale. The picture troubles me, but I also find it fascinating…
Glacier Grey, Patagonia. Shot with Leica M9 and Voigtländer 21/4 at 160 ISO. Printed on Fuji DP-2 Lustre on 75×50 cm. Signed and limited to 5.
Sold!
Printed on Fuji DP-2 Lustre on 75×50 cm. Signed and limited to 5: 200 USD, excluding shipping. 4 available.
I took this shot on the fourth day of a 105 km hike through Torres del Paine in Chile. The sharpness of this tiny camera-lens combination is unbelievable. The sheer beauty of this area even more so…
As I said before, my photographic career started with the Minolta MD-system. Being an alpine climber in the film age, I was looking for a cheap, reliable camera with good optics and mechanical operation. I wanted a Leica M6, but couldn’t afford it. I bought a second hand XD-7, had the light seals replaced and enjoyed every single moment with it. I already had a MC Rokkor 50/1.4 and didn’t use it for more than ten years. When I ordered a Novoflex adapter for my M240 I started using the 50 again. Somewhere in my mind I knew there was a famous 58mm Rokkor that I wanted ten years ago, but couldn’t afford either. I started researching the internet and came across some interesting information.
The Rokkor 58/1.2 has acquired a true cult status among photographers…
The production of the MC – metre coupled – series started in 1966 and these lenses can be identified by their milled focus rings and unpainted aperture rings. In some cases, radioactive materials were added to the coatings to increase the refractive index. In the early version – and therefore probably the most popular version – of the 58/1.2 this is the case. Fortunately, that doesn’t mean you’ll have to wear a protective suit when shooting this lens. If there was any radiation at all when it was brand new, there will be nothing left after almost sixty years. What is left however, is a fantastic lens with a unique signature. Later versions of the 58/1.2 are optically slightly better, due to more advanced coatings, but some people say they lack the warm look the early version delivers. Of course, when shooting digitally, the temperature of a lens is less relevant than with film.
The “PG” in the name indicates the number of lenses and groups that are used in the lens: five groups and seven lenses. Minolta abandoned this nomenclature later. Probably because no one knew what all these abbreviations meant.
Although Minolta film bodies have become worthless – at least economically, because they can be very valuable in other dimensions – the Rokkor 58/1.2 has acquired a true cult status among photographers. Before the mirrorless revolution, these lenses were adapted for use on a DSLR through either a physical adapter, or they were rebuilt to be used on a DSLR. Nowadays, it has become even easier to use these lenses, because mirrorless cameras don’t have mirrors that can damage the lens. Unfortunately, these developments have increased the prices for this lens. You might find a very bad 58 for 100 USD or less, but don’t expect to pay less than 350 USD for a decent one. A very good one will set you back 600-900 USD. And the lenshood will cost you 100 USD as well, since they seem to be quite scarce. Still, for Leica users, this is pretty cheap. And it even looks like a Noctilux V4? Well, you may be the judge of that.
Build quality
They knew how to build lenses back in the ’60s and ’70s. The Rokkor does feel as sturdy as a modern Leica lens in the Summicron range. It is quite heavy though, with almost 475 grams. The focus ring is smooth, the aperture ring is perfect: not too stiff and certainly not loose either. You won’t shift the aperture by accident. The lens cap is made out of metal, with the old Minolta logo. The focus throw is long, as it should be on a lens like this.
The lovely Rokkor 58/1.2 earliest versionThe Rokkor on the Leica M240
On the Leica M240 it handles quite well, comparable to heavier M lenses, like the CV35/1.2. Even with the adapter, it’s compact enough for everyday use. Being a thumbs-up user, I think it’s a petty you can’t use the EVF and a thumbs-up at the same time. I think the heavier lenses require some kind of extra support from either a thumbs-up, or the – also excellent – Leica M-grip.
sharpness shouldn’t be your top priority when buying a lens like this
Sharpness and rendering
Fast, old lenses are usually not the sharpest lenses. In this case, that’s true. However, sharpness shouldn’t be your top priority when buying a lens like this. To me, the sharpness it delivers at 1.2 is perfectly usable. As you can see in this photo, the eye lashes are sharp enough, even though they’re not in the center of the image. Sharpness does decrease quite a bit towards the corners, so take that into account when taking portraits. Also, sharpness improves quite a bit when the lens is stopped down. Unfortunately, it stops down from 1.2 to 2 straight away. More important to me is the rendering and the transition from sharpness to out of focus areas. And that’s where this lens shines.
Uncropped portrait. Vignetting is quite strong wide open.Crop from portrait. Sharpness is acceptable, but rendering is lovelyThe 58 with moving subject
On the internet you’ll find lots of photos taken with this lens, but most of them are of static objects. Portraits are a bit harder to find and action is something you don’t see at all. Too bad, because the 58 is more than a one trick pony. If you take it outside and try it with a variety of subjects, you’ll discover the interesting qualities of this lens. For example, the picture above is a bit Nocti-like to me. It has a distinct rendering and a much shorter DOF compared to a 1.4 lens.
Usability
One of the biggest drawbacks of this lens is that it isn’t rangefinder coupled. That means you can only use it with live view, or with other focussing techniques. Although Live view on the M240 is slow and the blackout takes ages, with a little effort and training you can make it work. For example, in this situation, I focussed with the EVF, using focusing peaking and adjusted by feel and muscle memory for the movements of the dancer. Only when the distance changed significantly, I checked focus with the EVF again. Timing takes a bit of training as well, since there is a noticeable lag between pressing the shutter and the picture being taken. I really hope Leica can do something about that with a firmware update.
Even fast action like this flamenco can be captured with a little effortCheck out the lovely rendering
Bokeh
Bokeh can be a bit of a hit or miss. Some people say bokeh improves with stopping the lens down to f2. But to me, the ultra shallow DOF is more important than bokeh. Mind you, the bokeh is very good in general, it’s just that sometimes it really shines, whereas sometimes it can be a bit busy. Compared to the much less expensive Rokkor 50/1.4, the bokeh of the 58 is a lot better.
Nice bokeh with out of focus highlights.
Flare
You’ll need a lens hood if you’re shooting against light sources. Is some cases, the image will wash out completely.
See what I mean? You’ll need a lens hood if you shoot against light sources
Conclusion
If you want ultra shallow DOF, unique rendering, good bokeh and acceptable sharpness for a very reasonable price, the Rokkor 58/1.2 is one of the best lenses you can get. If you don’t like your EVF and have enough money, get a Noctilux V4. If you want sharpness and everything else, get a 0.95.
It has been a while since the Leica MM Ralph Gibson limited edition has been released. It’s sold out, in case you’re interested. Those who did purchase one of the best looking Leicas I’ve ever seen, made a wise choise, at least, money wise. Just a few weeks after the release, one of the MMs was offered on Ebay for at least 3000 dollars more than the original retail price. But smart people will keep the MM unused, in a safe and sell it in ten years for even a lot more money. To me, a camera is built to take pictures and that’s why I’d rather use a camera, instead of investing in it.
Duncan Meeder and Ralph Gibson signing books
I was asked to shoot the event and I said yes. Leica wanted me to shoot the event in black and white with a M Monochrome and being familiar with that camera, I agreed. I brought a 35 cron and Leica was so kind to bring a Noctilux to the event. After a quick check of the lens/rangefinder calibration, I was good to go.
Mono, by Ralph Gibson. A non-signed copy was given to all visitors of the event.Old lady at the release event. Why talk about cameras if you can sit down and drink wine?
After a few speeches, the moment was finally there: the camera was handed to Ralph Gibson. I counted at least thirty photographers with Leicas documenting the event, which was a rather unusual sight for me: usually, I’m the only one with a Leica.
Ralph Gibson:
This camera is so special, because it is so simple. It allows me to take pictures I want and it forces me to see…
Leica CEO Alfred Schopf hands the new Leica MM RG to Ralph GibsonJoeri van der Kloet documented the release of the Leica MM Ralph Gibson edition
After the official speeches and presentation, many used the opportunity to check out the magnificent Leica Boutique Henny Hoogeveen. Being a regular customer myself, I only had to check out the new stuff.
Working with the MM and the Noctilux turned out to be quite exciting. Although DOF is razor thin, it only takes a bit more effort than working with my trusted CV 35/1.2. I had to get used to the short focus throw of the Noctilux and having shot the V4 a couple of times, I must say I prefer the older version. If you’re shooting action, like I always do, I prefer a somewhat longer focus throw to give me that little ‘slack’ when focussing. To me, a lens with a long focus throw is easier to learn. For me, on a wedding, I shoot my 35/1.2 when the light is bad. In these cases I prefer a somewhat wider angle, because I can shoot everything with a 35, whereas a 50 is often too long, specially indoors. After this night, I’ll consider getting a Noctilux again.
Schopf and his Leica M with APO 50 summicronJoeri van der Kloet documented the release of the Leica MM Ralph Gibson edition
The Leica M240 offers something we haven’t seen before: Live view! Although I thought I’d never use this feature when I bought the camera, I have found it to be incredible useful: when used with non-RF coupled lenses. I started my career in photography with a Minolta XD-7, also known as the XD-11. I needed a camera that would work in extreme circumstances: cold, snow, wetness, wind, dust, I encountered it all on my climbing trips. I never sold my Minolta kit when I switched to a DSLR, because the resell value was so low. Now, I’m very thankful for that. As you probably know, Minolta produced some interesting lenses and cameras, sometimes in collaboration with Leica.
One lens that was developed by Minolta is the MC-Rokkor PG 58/1.2. I have the first version with radioactive coatings. It’s true! Of course, there is no radiation anymore after more than fifty years. On of the key features of this lens is its bokeh. They say it resembles the bokeh of the Leica Noctilux 1.0 v4 lens. I can’t say if I agree with that, but the fact is: the lens produces some very nice bokeh. There will be a proper review in the near future, so stay tuned!
You might know that Holland is famous for its flowers and to be more specific: tulips. Although this flower was imported from Turkey a long time ago, we have made the production of new tulips in to an art. A few days ago, I visited the region where the breeding of tulips is concentrated, quite close to Amsterdam. It turned out that I was there at just the right time: the colors were just amazing and there were so many.
I had brought my M9-P with a 35 cron and a 75 summarit and I searched for a spot where I could show some of the environment and create an interesting scene. Suddenly I found this wonderful lone tree and waited for a few cyclists to enter the frame. And voila: Holland at its best. Amazing colors in the background, people riding their bikes on a sunday afternoon and the tree to get some contrast and vertical lines in the composition.
The 75 Summarit is a lens with two faces: it is bitingly sharp, very light and compact, but the sharpness can be too much with portraits and the focus throw is so short that it needs to be focussed very precisely. If you get it right, it’s great, but if you miss, you’re way off.
