"Nosebleed expensive" Great quotelet! Yes! The Streets of NY workshop was a life-changing experience. Got me out of my comfort zone and into a small group of truly talented cohorts. The gallery and collection visits were amazing. The photo walks were superb.
Your channel brings a ton of nostalgy to me, especially talking B/W and Leica. I learned photography in the early 80's at Brussels' "Le 75" graphic arts school. At this time, I had a teacher whom I can't think of without wetting my eyes (Yves Auquier. We called him "Monsieur" Auquier) who told us so very essential things about photography. He wanted us to get hold of a simple Kodak baquelite point&shoot 6x6 box and go out shooting without thinking about anything else but the frame (no aperture, no focal, no time) to teach us about constructing our ability to look at things, that is, REALLY look at things, to train our eyes at that. We were not allowed to print our shots cropped! He wanted to see the borders of the film on the prints! At that time, I inherited a Leica IIIc from my father with 3 optics, all of which were later stolen (along with 2 Nikons F2 and FE30 both with motor-handgrip, a Minox, a 6x9, a Rollex 6x6, and several optics and cells). Most of what I was doing then was shot on Kodak Tri-X you mentionned, hence the sobs, which I bought in bulk in 30m rolls that I rolled into reusable cartridges in my black- aka bathroom, and of course, developped myself in there. I printed (and cooked!) my shots on Agfa-Gevaert (of course, I'm Belgian!) Record Rapid b/w baride paper. The best of them are still hanging up there on my walls! What Yves Auquier also told us, and the point of it all, is that B/W photography is at the same time very appealing to the eye BUT very demanding. That is because, B/W forces us to focus ON CONTENT (capitals intended)! In many, many cases, color is superfluous even to the point of being cumbersome. It diverts us from the subject. UNLESS THE COLOR IS THE SUBJECT ITSELF, which is not necessarily the case. That is why photo-reporters of that time (was very impressed by the movie "Under Fire" with Nick Nolte and music by Pat Metheny) carried both B/W and color or... B/W only. And Kodak Tri-X, of course, the jeep of photographic film! Which I was pushing regularly 3 stops, up to 3200 ASA (no ISO by then) with a grain no electronic sensor will ever be able to match. I'm no longer into photography today, but boy, do I miss it. That B/W Leica M10 (I will never be able to afford) is my 1984 photography teacher Yves Auquier. You remind me of him (minus the age, of course; he's still alive at 86!). God bless you for that. And God bless him.
What a soulful story. And II felt touched because in late 80s and the 90s , I was a student in Brussels and photography carried me on during my varsity years. Keep well and God bless...
Here I sit, an amateur bird photographer, listening to your thoughts on kit I will never practically own. All knowledge is useful at the end, even if to create awareness on what you do not know. My grandfather used to shoot a Hassy back when you needed to make slides of the film, and I learnt to photograph on a Fujica. Good days, thank you for documenting your thoughts. It is a pleasure to hear you speak.
'Ok with the gear that we already have.' Absolutely. These few weeks have brought so many new gear announcements, it feels as if it's necessary to buy the lot.
Looks nice. It's a stunning camera. It's a nice progression of the monochrom line. But I'll be happy with my m6, 35 Cron and a bag full of tri-x. Getting lost in the darkroom is just so nice.
I've been wishing the same thing so my Minolta CLE and Canon P with Kodak Tri-X 400 and Ilford HP 400 will have to do for now for my true film black and whites. That said, the monochrome and Acros simulations on Fuji are great. Before forget, there's a company out there who will convert an old X-Pro1 into a completely monochrome camera for $2K. These guys right here, maxmax.com/maincamerapage/monochrome-cameras/fuji-monochrome. It's a helluva lot cheaper than this Leica monochrome.
You can get bayer sensors cameras converted to monochrome, its far less money than this. All it takes is removing the bayer filter. Or you can just get a foveon sensor camera.
I got my first camera a couple of years ago, an a6000 with a 16-50 kit lens and then a 55-210, and never understood the idea of getting primes and working with film. But after being given a Pentax K1000 and getting a couple of prime lenses with it, the quality and character that both these things presented blew me away, what this video teaches is something I'm only starting to learn which is how limitations often benefit a character and style that one develops over their career. Cheers Hugh for continuing to inform and educate through the lens of your own style and character.
Regarding your comments about IBIS ... I've been shooting for 55 years give or take a month or two and before digital I shot Kodachrome 25 almost exclusively (from time-to-time I would toss in a roll of TRI-X). When Minolta came up with the 7D - I think they were the first with in-body stabilization - I bought it without hesitation. IBIS was and remains the most important innovation in photographic technology for me (although EVF's are a very close second). When you have been shooting at 25 ISO for decades and along comes a camera that gives you 3-4 extra stops you marvel at the possibilities. And while I am at it ... don't get me started on folks that grouch that a camera can "only" do 300 shots before the battery is depleted ... contemplate having to take the time to change a roll of film with every 36 exposures and then tell me that 300 exposures isn't enough (37 actually - if you loaded the Kodachrome with minimal leader). I had best stop now or I will get the "Old Fart' award for 2020. All the best! - P.S. I had a Leica IIIg rangefinder (the last of the screw mounts) - at today's prices it is likely the last Leica I will ever own.
Michael Hill Thank you for such a richly detailed, well-reasoned, and experienced perspective. No Old Fart Award for you - just my appreciation. 👍🏻👍🏻👍🏻
A couple of years ago I was visiting the local Leica store here in San Francisco and got to “borrow” (only after signing my life away) a Monochrom 246 with a 35mm Summicron ASPH for a photo walk they offered that day. I already was a victim of “Leica Lust” in that I had recently reacquainted myself with the joys of rangefinder shooting with a Leica M262 and was carrying a 35mm Summicron ASPH (purchased used...). During the walk I carried both cameras and availed myself of the opportunity to shoot similar images with both cameras. I made 8x10 prints of one of those same shots (the color image from the M262 was decolonized) and showed them to some friends of mine who were well versed in black and white photos. As you can probably guess, they immediately picked out the Monochrom image. OK... you know all that. And yes, I currently own, and use, a M246 as a result of that day... I’ve made 20x30 prints from that camera that are absolutely sharp, edge to edge. So... do I want the M10Monochrom? Of course... do I need it now? Probably not... at least for now. Next year, who knows...
For the price of a Monochrom body I could buy a mirrorless camera of similar megapickle count with lenses ranging from 14mm all the way up to 500mm (4 OEM zooms), a knockout printer, extra batteries, etc and still have change. However, I would have to tell my own story rather than smile at Hugh's delivery and his own, highly enjoyable images. Cheers, man!
I love using my M10 with a Sonnar-based lens set: 7Artisans 35/2; Lomography/KMZ 50/1.5 Jupiter-3+; and MS-Optic 73/1.5. All three lenses are quirky but full of character. I suspect the new Monochrom will get along great with all three.
Another seductive video. Great balance of delivery and message. I still shoot film Leica's and, to a degree am sheltered from the major costs of the newer digital material. The thing about these prices is that they are valuable (stating the obvious) and as I walk around the streets of many major cities probably more valuable than stealing a mobile phone, not that I would, but others may covet what you carry. At a cost north of £15,000 it is likely to be amongst the most expensive things you carry on your person, so from a practical and safety point of view there is a consideration. I do agree that there is better value for money and given the quality of most of the lenses/backs around today to the majority of photographers the incremental increase in benefit is outweighed by the price. There is clearly a market or they wouldn't manufacture them. However, I seldom look at the charts - why should I because Hugh does a great job of analysing performance for us - and please keep doing so! I also agree that we should make use of the benefits new technology provides - I drive a car that is so far away from my first car from an ease of use and driving experience why would I want to drive in something that is mechanically unreliable and uncomfortable. So why do I continue to shoot on a M6. Well it is an old friend and the 2.8 lens is mighty fast enough for me. I am used to the manual focus and I have always shot manually, even on the new fangled digital camera - my favourite is my XT-3, despite being long in Canon Lenses with my 5D mk4. The major benefit for me will be how the other manufacturers follow the Leica lens developments, as I believe they will. When they do we can all benefit from faster and sharper lens technology, should we elect to take it. Today there is a fascination with sharpness, sometimes to the detriment of feeling and impression. I took in the Linda McCartney retrospective recently in Glasgow and her best pictures, in my view, were long on tone, colour, composition and especially feeling, and short, sometimes, on tack sharp focus.
Thanks for this review and reality check Hugh. To this day, some of the most tonally beautiful B&W photos I have taken were with the original Monochrom. So buying a used M9 Monochrom might be a good and relatively inexpensive way to scratch that itch ...
Its nice to see Monochrome cameras on the market, and market offerings to help photographers get back to basics. Ken Wheeler has been asking Fujfilm to make a dedicated monochrome camera for some years now. What I'm really interested in though, is an camera for shooting in Infrared. I have a good buddy, a working pro, that had his Z6 converted for shooting IR, and I really love the results he gets from that. Maybe I'll have my old X-Pro1 converted to Infrared. Hmmm... Cheers, Hugh.
Hey Hugh - I realise I got here late, but I want to say that I love the Leica M10 and its monochromatic sister so much I have started listening to jazz. Yep they are that good.
@@3BMEP Should have said M10 'R' - and yes that does makes all the difference - I think I am joining others in mentioning 'pinnacle'? What more could you want?
I say the megapixel doesn't matter, started shooting film recently, loved the look of Ilford HP5 with all the grain and imperfections. I feel like sometimes the perfections ruins the image at times
Love your critique as always, common sense and passion blended beautifully. Thanks also for the mention of the Australian bushfires, it is horrendous down here, the long term resultss yet to be known.
Okay, do I need it for my work? No. Can I find any rational reason why I would need one for my work? Heck, no! Not at all. Does this add anything I cannot carry out with my already excellent, exquisit and existing gear? Nope. However, since this is out, I can't moisture my body sufficiently since I am drooling the whole time. I simply want one. Period. Maybe this is the time to sell one of my kidneys? Great review. As always.
I don’t have an EVF and there is no problem focusing an M, especially an M10. All you need is some practice. Once you have a bit of practice, you’ll find that manual focusing via the ranger finder is actually FASTER than AF. From start of seeing a subject to capturing the moment, it’s faster on an M, if you know what you’re doing.
Another great first impression Hugh. Couple of things to share. I wish Leica would have stuck with 24mp for the new Monochrom, I thought it was great you you mentioned the need for top spec Leica M glass to be used with the new Monochrom, reason why i mention this is because on my SL2, when using M Glass at least with the glass I own, 28 Emarit, 35 Summicron, 50 Summilux and 75 APO I find at least with these lenses they are not up to the demand of 47MPIX except maybe my 75 APO. Not that the results are not good, yet they just cant compare to L-Mount glass. Lastly what i did to satisfy my Monochrom itch was I sent in my Sony A7Rlll to Monochrome Imaging services and for $800 I had the color array removed and now I have a 42MP Monochrom only camera with a great EVF
Steven Kornreich Great feedback, Steven - cool idea to convert the a7r III. But yes: it’s unequivocal that SL glass is top of the pyramid, though the APO Summicron-M 50 and Summilux-M 90 are in the ballpark.
Saw the leica announcement and immediately thought: "Huh, I wonder what Hugh thinks especially with his long distance love affair with the Leica M10-D?" When I was settling on what camera to add to my Q-P in the distant past of Xmas 2019 I was smitten by the idea of the monochrome but settled on a happy compromise of a M10 + gently loved used V3 Pre-ASPH Summicron 50mm that still hasn't stopped eliciting those "Damn!" moments when I get the shot just right. (Edit: I literally rocked back and forth with my newly bought Summarit 35mm 2.4 ASPH at a botanical garden to focus last weekend without realizing and the minute you said that I went "holy crap, he's right!")
Love jazz with Leica. All we need is Rod Steiger screaming in the street near his pawn shop ( The Pawnbroker.). My favorite digital monochromes came from the Sigma DP Merrill Foveon Sensor camera(s). Nothing compared to them for price and size.
Hugh, I really enjoy your videos. You have a very unique and eloquent delivery. I have a Leica M10 Monochrom with a few videos posted on my channel. Cheers
Thanks for the thoughtful considerations. Comparing to some other blogs where everything new is "great" "one of my favorites"... this video helps me much more in formulating my own thought around what gap does the MM3 really fill beyond the GAS. And thanks for organizing the donation.
Robert Li my pleasure! Though re Australia fires, Credit where credit is due: Matt Granger pulled it together; I was delighted to contribute to the cause!
For all of us who can't afford some Leica cameras or a least one of them, yes, we can be happy with what we have. You may laugh but when I want nonetheless a street photography experience, I take a small Olympus PEN with the holy trinity of prime lenses and that's it. Maybe it's not as good as a Leica combo, but that's what I can afford.
Cameras are only tools for creativity. You make the camera, not the camera makes you. I have Leica, but I also got my Fuji X100F. Great go anywhere camera, nice lens and affordable. I love that little thing. Expensive cameras also have a disadvantage that is not often mentioned: You do not always, for obvious reasons, want to wander the streets of let's say Kinshasa with them.
And that is all you need, I should say. I love photography the same way i used to as a teenager and the gear I mostly enjoy has always been the one my pocket can afford. Photography has always been the constant denominator all these years.
Andreas T Agreed, my best street photos of Douala (Cameroon) have all been taken on my iPhones over the years. Even my Fuji would be conspicuous in that environment by its presence.
Great balanced review. Seems like the M10 Monochrom is a nuanced development. Still the launch made me take my M246 Monochrom out today and fall in love again. Amen to the need for Leica to launch an elegant upgrade to the Visoflex, as long overdue in my ageing eyes. Must checkout those NYC workshop dates.
My current camera is a leica monochrome type 246 my dream camera do not need a upgrade I love it. but if I really should buy another or new camera it will be the Leica MP thats my goal for the future yep full blown analog. I have become a bit tired of the mega pixel hyper racing. Its a negative respons just my own observation. And since I miss film well then I step of the Mega pixel train and go the other way lol why do I get the type 246 because I like the digital convience but I love film. Great video as always greetings from Italy !
@@3BMEP Wauw cool I am happy you liked visting Italy. I always wanted to shoot street photos in New york. And yes black & white. lol great day from here
I bought a used 2011 Leica V-Lux 30 for $120 usd yesterday, can’t wait to fire that 14.1 megs at 10fps and 24mm to 384mm zoom range ....WOW! I have arrived!😀
Hey - more money for food, clothing, travel - you already have more firepower with that V-Lux than many professional photographers had half a century ago. Enjoy!
The selling point of this camera is that can work at hyper high ISO without having almost any visible noise, maybe some cool grain like fuzz. It is possible to work in total hyperfocal having pretty much all in focus without even focus at all. Let's say that you keep ISO10.000 stable on, then F.8@250sec with a 28mm or a 35mm you will have all in focus from 3/4meters away from you till infinite. For the super sharpshooters that wants use a Noctilux wide-open well...it takes some time and some skills once with film today with digital anyway but ones you get it right will be sharp like nothing else. This camera is made for old school shooters, zonal system and so on, or new shooters that want to learn the hard way. It is not for everyone.
Thank you for yet another insightful and informative post. I recently moved house and sold most of my camera gear to part fund some of the fees (leaving me with just my trusty Lumix LX100). Fortunately I fully subscribe to your philosophy that it is more about the emotion that the image evokes, rather than the equipment induced quality of the image (although I could very easily change my view point were I to win the lottery!). Please keep up the fantastic work as it's very much appreciated!!!!!
Punk Rachmaninoff Get a Fujifilm X100F use the ACROS film simulation and try these settings: Film Simulation: ACROS+R Dynamic Range: 100 Highlight Tone: +4 Shadow Tone: +4 Sharpness: +2 Noise Reduction: -4 Grain Effect: OFF Enjoy!
I'd love to get a Leica Monochrome. I already have some great vintage Leica lenses that I use with my old M2 or adapt to my Fujis. So the lens part is already covered. I would love to see how they hold up on this modern hi-res camera. Still, the prices are crazy. Somewhat understandable, since this is a super niche market.
My GFX50R and 50mm along with SilverFX yield fantastic results for Black and White at a third of the price.. I love Leica but still don’t understand the big deal with the Monochrom :-) I’d be interested in a comparison between that and the M10M and 50 APO.
The video of you talking (head) has beautiful black&white grading. Looks like a bit darker gamma was chosen to excellent effect. Any particular strategy to create this monochrome look? It's cool. I assume you used the GH5 since that is listed in your gear section. And I suppose the 10-25mm Leica lens? It's cool (or did I already say that?)
Hugh, This question is purely academic. I shoot film, mostly medium format with a Hasselblad 500 c/m. Would such a devotee to chemistry be able to participate in your workshops? It seems that there is a heavy emphasis on image feedback in your descriptions. Hysterically true is the fact that I don’t own a digital camera. Briefly, I emphasize the production of a silver emulsion print as my ultimate photographic expression. I have tried to do that with a digital printer and cannot get what I want out of the process. Two options, I could borrow or rent a camera for the event or bring examples of my past work. Don’t waste too much time on this question, sadly I cannot attend this year, but you are on my bucket list. Sincerely, Charlie
Charlie B. Great question, Charlie. I’d counsel you to bring a digital camera, though I DEFINITELY include an iPhone in that category - especially with the apps available which can simulate DOF. The idea is to hone your skills and voice, and in that context (setting aside printing) seeing, composition and creative choices around the exposure triangle rule.
I have the M6 and the Nocti 50 . should I continue to shoot TX and Ilford , or should I buy the Monochrom....that's my dilemma. your great review helps me to progress in my thinking, thank you very much.
The Nocti 50 is a better match to your film M6. The M10 Monochrom will probably eventually cost you the APO Summicron-M 50. I think THIS is the optic for the new ‘chrom!
Hi ...Thank you for excellent review as always. One quick question...I am thinking of my first Leica camera and torn between SL2 and Monochrome. What so special monochrome can offer over SL2? Generally I love black and white but shoot both. Thanks
Ouch. been wanting a Monocrom for a long time, waiting for the M10 version for the thinner body, it seems "proper" glass makes the already expensive body prohibitively expensive as a system. Add to that the focus troubles at that resolution wide open...I think I'll stick with my M6 and Tri-X and wait for the new Hasselblad CFV back to pair with my 500C/M and get actual medium format tonality (hopefully). This hobby can spiral out of control easily these days...and I just tried to price the new Mac Pro...$50K for one maxed out?? It's getting crazy. Thanks for the insights
Y'ouch price , but if i won lotto hmmmm , SL2 yes yes yes and yes Btw i been down and been to Hepotologist in past week feel like lab rat , but anywho miss being up on these videos as quick and your pure passion and knowledge in the field of Photography , i counted 1322 lol gottee hairs , that one sharp video set up Hugh
So its propably safe To say this Will be also.M11 sensor but Made To be without filter for b&w. I am b&w guy. I never put a colour film In m6. But I would wait for M11. As I dont need b&w Only camera. How large are those b&w raws?
My brother has one of the newer model Leica analog cameras. He discovered that the rangefinder misses the focus by about 1-2 cm and wanted to have it serviced. Leica quoted him 1600 euros, almost 1800 dollars, to fix this. Crazy!
Hugh, an enjoyable video, as always, and thank you for your reviews. I have a question, not directly related to the M10 Monochrome and hope you have time to respond. In part, your high praise for the CL caused me to get one recently and I am curious which of the TL-lenses you are most pleased with? Like you, my ever more "maturing" eyesight makes it more challenging to focus manually, although I still tell myself I can handle it (and am using my M-mount lenses on the CL for the time being). Anyway, thank you again for your videos! Best regards, Tim
Tim, we have the 23/2 and 35/1.4 - both are spectacular. So is the 11-23. After that, I've heard great things about the 60/2.8, though in my short time with it a couple of years ago I recall it was slow to focus. I'll have to revisit. The 55-135 is excellent as well, , but a bit slow for our current work.
Banananana Toomoe It’s a very individual thing. I’m biased towards Leica because of my personal history with the brand going back to being a little kid. We’ve done a couple of projects together. The X-Pro3 is terrific. I like their people. But for me, as you’ve framed the question: there’s a world of difference. The ‘chrom wins bigly.
Great video, thanks ! One question, so I am using m10-p and I seem to take more b&w pics than color pics. However, from my own experience, b&w on my camera is already good. If I never need to print big pics, do you still think it is worth the swap ? Thanks in advance
Herman Tsui We’ve printed (and hung on our walls) 27x40” APS-C and 40x40 m43 Images. We’ve seen Danny Clinch’s full wall image of Eddie Vedder mid-leap at Fotografiska in NY, probably shot on a 35mm film or full frame digital Leica M. If you’re not going to crop the CRAP out of your images, I think you’re more than fine with what you’ve got, with the added benefit of being able to manipulate the image in post - even as a b&w image - which takes advantage of the color information the M10-P captures that the Monochrom by definition does not.
14:12 - could not agree more, O-LED, beautiful colors and so contrasty and crip, Please leica make a neat EVF, at 8K camera body price, we deserve a better EVF, also I would like to add to the thought - M10-D monochrome, 40MP, now that would complete it!!!! For me , removing the color filter is reason enough to get a monochrome and shoot B/W, what amazing experience, now one day we will get a no screen monochrome, Indeed enjoy an M before one is too old to focus with, Just know that the rangefinder is very accurate and dead on, it all depends on the user, thats what makes Leica so so good, you pay that $$$$$$$$$$$$$$$$ for the experience, and this is what Matt Granger also said when he reviewed the M10 monochrome
hallo Hugh, what a great Camera but - holy shit - this price. P.s. One of the Best about your review is this wonderfull music. 👍👍👍 greetings from Berlin
When they announce new 35mm camera , they always say it has medium format quality but the reality is THEY HAVE NOT. Never pay that stupid money to 35mm camera. Just buy Hasselblad X1DII with 45mm and 80mm lenses
Each person gets to decide which market offerings provide a value proposition for them, so I'm not going to discuss your comment about the "money". I would agree with respect to your comment about medium format quality. The fact of the matter is that the "medium format quality" is much more due to MF lenses, and the fewer compromises they have to make from an engineering perspective than smaller format (i.e., anything smaller than MF) lenses. There are sound engineering reasons for this that Ming Thein has described in detail on his blog. In my experience, the MF quality is due to 3 key parameters (called Control Factors in Systems Engineering): MF lenses and their intrinsically superior optical advantages, the size of the sensor and most importantly, 3) the _interaction_ between the MF lenses, the MF sensor, and the image processing engine. Because the image processing engine is working with image files that have less intrinsic optical and sensor-based compromises, it can produce superior results. Its the *interaction* between MF lenses, MF sensor and MF imaging engine where the MF magic really happens.
Hahaha, another Leica....if I was Claudia I would be starting to get just a little worried.....haha I can see the scene now “ Claudia have you seen where the hell i left my credit cards?” .....(Claudia) “why no darling how would I know!?” ....hold that thought!
Why do so many of these “review” videos almost always condescend into a debate trying to justify the cost vs features tradeoff? The M system really doesn’t compare to anything else out there - not talking about specs, but about the user experience. I sold my M6 TTL and went to Fuji, then Nikon, thinking I’ll save money and get more features. Guess what? I hated it! If you love the M experience, you love it. There’s nothing else. You don’t cross-shop a Fuji X... whatever.
Wise words. I'd go one step further: this 41MP M10M stretches mechanical rangefinder focusing way too far beyond its capabilities, even if you have perfect eyesight. Using summiluxes and noctiluxes and even summicron telelenses wide open on this camera will very likely be a lottery, unless you use the Leica M the same way you use a generic mirrorless body (optional EVF). And that lacks the most elementary elegance when using a M. I already see some leicaphiles theorising that we should all shoot at f/5.6 or f/8 anyway, and that shooting wide open is just a hipster fashion (not entirely untrue but besides the point). The rangefinder is already stressed out with 24MP sensors. Time to offer an integrated EVF-based Leica M (where M would stand for "Modern"). On the other hand, what a wonderful concept!
I can understand things like M-D, but what's the deal with M-M's? The process feels identical to an M10 with monochrome turned on, is there anything very unique about shooting an M-M? I have an M2 and an M10. Hope someone in the niche can explain to me. Curious to find out.
The 25% tariffs must be helping the US camera manufacturers. It's great there are so many domestic choices. Leica was so inexpensive it was impossible to compete.
Great video again Hugh. I own the M10 Monochrom and the M10-D and your excitement on both of those videos is spot on. Great job sir. @33rd_eye_photography
Or you can just shoot MF film. You can take stunning shots with M10 and most people won't be able to tell the difference b/w M10M and standard M10. I'll just wait for M11.
@@3BMEP Just calculate it, like they calculate overpriced cars these days. Over 10 years only £ 725 a year, or £ 60.42 a month. That's only £ 2 a day if you shoot daily and less than a Starbucks coffee. That's what my wife gets, when I have to justify Leica. Or one of those dam' handbags.
Wish I’d love to shot with you but to do it I’d be living on streets and eating out of trash cans. Would love to shot with Leica but that would mean divorce...
Nosebleed expensive... and a complete waste of money for 99% of photographers. This camera will be useful to about 1% of pro and semi-pro photographers. The rest I predict will just be super rich amateurs who like expensive things. Fair enough. I'm not jealous... (much.) :-)
