Quite often I roam around with my Dad’s old Leitz 21mm Super Angulon from 1963 on my Leica M-P 240. It’s a beautiful lens that has been CLA’d by Mr. Yi here in MA. Unfortunately or fortunately which ever way you look at it I only shoot in monochrome jpg with this lens because of the magenta fringing that happens on the edges of the frame. This is because the rear element is to close to the sensor. You can see in the image above the vignetting on the edges. This does not bother me that much as the image has an interesting look to it. I was thinking of William Eggleston’s image and felt it needed an update!
A couple of years ago I helped a friend bring his 36′ Morgan back from Maine. As I waited on the dock for him to bring it in I was enthralled by the stillness of the early morning and the incredible reflections happening everwhere. Magical is the only word to describe it. Another morning in paradise.
In Gloucester, MA every year we have a schooner festival. It’s a unique experience and I am lucky enough to be able to climb on board one of them whenever I want. This year I chose to shoot only in B&W mode on my Leica with my father’s old Leica/Schneider 21mm Super Angulon from 1963. In color this lens has a heavy magenta vignette so I tend to use it only in B&W. A couple of years ago I had a CLA done on it and the optics are stunning.
I love this old GAR building in downtown Rockport. The paint is peeling off the bricks and there is always a flag hanging, just not in this photo. Leica M-P 240 w/ Leica 28 mm Elmarit V1.
This tree has always drawn me to it early in the morning spring and fall. The light is low and the shadows are wonderful. The building across the street is a wonderful in it’s design. The out of focus clouds and building really give an interesting feel to this image. Leica M-P 240 w/Leica 35mm Summicron.
I’ve been trying to catch this fence just right for a while. A couple of weeks ago I managed to do it justice. Leica M-P 240 with 50mm Summilux.
This image was made awhile ago and I just came across it. I was out shooting with an intern on assignment for the group of newspapers I worked for at the time as a Photo Editor. I was teaching this intern about light and how B&W can be such a powerful tool. This tree had white bark that could not be ignored. I had the Leica M-P 240 and the 50mm Summilux with me and worked on this composition knowing that I would convert to B&W since the only real color was the sky. The texture on the tree just popped once it was converted.